Photohastings is a loose collective – a network of photographers who exhibit together and jointly publish their work. Supporting each other this way, they can take on bigger spaces, share costs, and extend publicity. They have recently held a series of shows at St Andrew’s Mews, off Queen Street near the New Town.

One of this talented group is quietly-spoken, articulate Rod Morris, whom I spoke to in his studio on the top floor of a Georgian terraced cottage in West Street, a lesser-known area of the Old Town just behind the seafront. “This is a lovely street,” he enthuses. “Do you know it has its own newspaper, The West Street Chronicle?” Indeed it has a flamboyant history of smugglers, suffragettes, fascists, druids and Pre-Raphaelites, not necessarily in that order.

It is appropriate that Morris’s studio has this diverse and fascinating background, given the exceptional variety and quality of his work.  It’s small, warm, quaint, and well-organised, and I was privileged to look over past and recent photographs while we talked. He is currently gathering a collection of prints for a show in a London gallery. While he makes his living from film-making, his exceptional collection of personal works covers a huge range of subjects from everywhere – a continuing life history.

“This picture got me started in my career,” he told me, showing me the memorable photograph of a bus driver in Egypt. “I won a competition with it, and the prize was a return plane ticket to anywhere in the world and a camera, which I sold.” All his photographs are in black and white – “I’ve had this same Pentax for about 30 years,” he goes on, showing me a traditional, non-digital camera.  “I use digital for film and commercial jobs, but I see this as more my personal work, pictures that have stayed with me and still have meaning.” 

We talk a little about the difference between photojournalism and the art of photography. “I studied photojournalism and just as I’d finished, this guy came in and said ‘Objectivity is dead, and subjectivity is everything.’ A lot of people were really angry. But I thought, I totally get this. We’re affected by our experiences, and to ignore that is madness. Journalism is all about the specifics. But a good enough image that suggests things to the viewer will live longer in the memory.” 

Supporting this idea, he shows me a series where “We don’t know who the subject is, but we can make all sorts of assumptions and can see different stories. I’ve always liked to ask questions, rather than provide answers.” So a poster-sized print of four guys in suits, who look like they might belong to the Yakuza or Cosa Nostra, was taken in San Francisco. They could merely be four businessmen out for a walk on Russian Hill. With the current collection (Still Films) he is, though, unusually, submitting written narratives along with the photographs.  He shows me the photo with the little girl at the centre, taken  in the house of a German musician in Venezuela, and tells me the story.

“I wondered why there was this quality of musician living In that remote place. It turned out that he had had a brief relationship there while travelling, but some time later the woman wrote to him and said that she had become pregnant but wasn’t expecting anything of him, just letting him know. He thought long and hard then went out there. They all lived together and they set up this jazz club, but then the woman (now his wife) passed away when the child was still very young.

“I asked whether he had wanted to go back to Germany, and his family.  But he said no, he could never leave this house because of the presence of his wife. As we walked into this room, his daughter sat in the hammock, and the light entered the room and suddenly her mother was there. A second later the light had gone, and she was gone as well.”  There are similar poignant histories relating to a range of photographs taken variously in (for example) Venezuela, Cuba, Egypt, San Francisco, England, and New York. 

There’s a certain angularity of composition, a careful geometry, that seems characteristic of all his work: “Some people say that I have the same shapes in all my pictures” he remarks. One of the  dozens of photos I am privileged to see is taken from the middle of the Millennium Bridge, looking towards St Paul’s. A man in a wheelchair has his back to the camera, and the line of his head is centred exactly between the converging lines of the bridge to the centre of St Paul’s dome. It’s a fine, memorable shot.  

Asked about the constraints of making a living from photography, he is definitive. “I’ve always made a living. Most people on my course (photojournalism at UAL: London College of Communication) went on to do conflict photography. Some of them died. I stayed in London for my final show and happened to knock on the door of the Royal Philharmonic Orchestra. They were on my doorstep, a little way away from the college.” The orchestra liked his photos so much that they exhibited them and had them made into cards. They are still on his client list. After the advent of digital photography, he taught himself how to edit film, and gradually his commissions changed from reportage stills to reportage documentary film-making. 

Though Morris has lived and worked in Rye, he and his partner lived in East London for some years with their triplets, who shared one room until they were fourteen. They moved down here to give them more individual space, but since then he hasn’t looked back. Like many other residents he really appreciates the amount of creative support there is here, especially from the photography community. His background is eccentrically artistic: his father worked as an architect who, to make life interesting, would add a Gothic chimney to a design for a factory, but was also able to play entire piano concertos from memory and play the violin. He also developed a serious understanding of photography. His love of music transmitted to his children; Morris always works to a musical accompaniment, which he feels has an effect on the ultimate product. 

Hastings and St Leonards, he suggests, “punch above their weight” in terms of creative production. I doubt anyone would disagree that his work adds strength to that punch. 

See more details at roadfactoryfilms.com/studio-info, and roadfactoryfilms on Instagram. For the Elliott Gallery exhibition, see elliott.gallery/rod-morris. Also at Photopia and Photohastings, photopia.co.uk and photohastings.org

Gregory Heath is a resident of St Leonards and has always had a strong association with the sea, growing up in New Zealand by the Pacific and the Tasman. In capturing the light and mood of the south coast and the channel in his photographs, Greg finds a connection, bringing with that a sense of home. 

Also an in-demand professional saxophonist, Greg can often be seen at local gigs fronting his own band or someone else’s. As a musician he has an in-depth understanding of musicians as the subjects of portraiture and photography; this newspaper has been privileged to publish very many of them along with reviews of their performances.  He works mainly in black and white.

Other photographs by Gregory Heath can be seen on facebook at tinyurl.com/yckkfxab, on instagram at hinstagram.com/gregory_heath_jazz_photography/and on flickr. 

This small but perfectly-formed exhibition, Here, Not There, in a positively unrestored house on the first floor of St Andrew’s Mews did much to promote the Mews (as now seems to be happening) as a mise-en-scène for exhibitions: an opportunity for artists to display their work with a nod, sometimes more than a nod, to the surroundings in which they are placed. 

PhotoHastings are staging a whole series of short photographic shows in this venue, to change every two weeks. We previewed the current show in the last issue, and seeing the actual photographs in situ was a great pleasure. Of particular interest was the ECM room – who wouldn’t like to look at great photographs while listening to ECM artists? – Pat Metheny, Andy Sheppard, Anouar Brahem. The photographs were displayed checkered, interspersed with vinyl discs on which the labels advertised the show: HERE, NOT THERE 1-97, Cottrell/Willis, A Homage to ECM Records, and had a serial number made up from the dates of the exhibition. “How did you get the fabulous blurry watery effect?” I asked Derek Cottrell, and he told me about his Lensbaby. 

Imogen Bloor’s pictures were displayed in a shabby front room setting – stripped down flaky plaster, standard small black Victorian fireplace, the usual thing – but somehow the room was convivial. Her late mother-in-law had been eccentric, bipolar, collected strange objects, placed them in odd juxtapositions, and this was Imogen’s homage to her. The pictures are of empty wall fittings, two-tone walls, random kitsch. Bloor’s photographs are very geometric – see her insta page for samples of ‘the quirks of everyday open spaces’ – but there is at the same time something reassuring about the sheer universality of rectangles and lines. I was fond of this room, and kept returning to it, imagining her mother-in-law madly positioning things. I have personally always obtained marvellous therapeutic currency from rearranging furniture and objets.

Dan Percy’s room was lined with pictures of old telephones, wires, redundant wall sockets, roof tiles, bricks from a house being renovated. There’s something disquieting about disused artefacts, and this installation had an eeriness which was probably not the effect of the artefacts themselves, but simply that of the act of photographing them. A pile of bricks standing in the corner of the room made portentous shadows on the wall. The photograph of them looked far more monumental than it ought. He himself looks relatively cheery. 

He should. They all should. It was a great show; original, unique, fascinating. There are a couple more to come in the same series and a resident artist, Nicole Zaaroura, explores themes of protection, anchorage, armour, safety, and disguise in the Blue Door Gallery opposite. The next show, Mews 4, has more new and different photos to see in new and different surroundings. Highly recommended.

The exhibition generally represents the members’ latest work – exploring intertwined stories of space against the background of a pandemic that has shifted our perception of what personal, professional and environmental ‘place’ means to us. Unplanned, even here, the exhibited work interacts with the physical space of the gallery and the natural elements outside it. The sun creates a light trail up to the left corner of the room, highlighting the sea surprised by Jeremy Llewellyn-Jones, whilst the wind plays with Sinéid Codd’s reflective objects, changing their angle and inviting us to pause, look – as she states in the title of her work. 

Saint Leonards Festival by Ian O’Leary

From celebrating suffragettes with Louise Whitham to crowd watching in Saint Leonards with Ian O’Leary, the exhibition is a carousel of emotions, offering a plethora of questions and answers on the topic of ‘place’. What does ‘my cup of tea’ mean? Do grey clouds predict that a threat is coming? What does the sea mean to us today and will we ignore its unjust power? Holiday or survival? Is destination an unexpected journey? Do we appreciate the free things in life? What will we learn from this?

Ian Land’s walks along the Sussex and Kent coast whilst Brexit is unfolding take an alien, distant look at familiar landscapes. Abkr Rastan’s images take us from Syria to St Leonards-on-Sea, inviting us to visually inhabit a space that explores both the absence of humans and the presence of light. Caoimhe McDonnell makes a parallel between coastal erosion and constant change, while Frank Francis questions whether the reader will follow the plot of accidental juxtapositions. Rod Morris entices our imagination with a shot reminiscent of a film noir still – we are left to ponder whether we are looking in the right direction. 

The group has an annual festival programme with opportunities for mentoring and workshops. Although lockdown has affected the normal working dynamic because of national restrictions, the members have met online and continued their creative practice. You can see the exhibition photographs and get more information about PhotoHastings on their website and Instagram.

Contributing photographers are : Sinéid Codd, Chris Coombes, Derek Cottrell, Frank Francis, Clare Hocter, Basil Jaber Alsheikh, Tracy Jones, Ian Land, Jeremy Llewellyn-Jones, Caoimhe McDonnell, Rod Morris, Patricia Morrow-Webb, Ian O’leary, Abkr Rastan, Louise Whitham. 

• A 36-page book of the exhibited photographs with text can be purchased via the Silverhill Press website. 
www.photohastings.org Instagram: @photohastings Facebook: @photohastings 

Photohastings is a creative photographic umbrella, with a self-initiated remit to develop creative and cultural opportunities for photographers in Hastings and St Leonards. Photohastings – Part 1 is the first of a month long exhibition, which features the work of six photographers from this innovative group of local artists.

In the opening section of the show, photographer Ian Land explores Britain’s current socio-political climate.

The Land of Cockaigne: Travels Through Brexit is a visual depiction of Land’s literal journey, on foot, from Hastings to London. Disillusioned with Brexit and the subsequent division it has evoked, Land’s series of austere black and white images convey a desolate and fractured Britain. Derelict landscapes littered with ‘Keep Out’ and ‘Private’ signs appear cold, almost authoritarian in tone. Urban spaces lie vacant, seemingly abandoned by any prior inhabitants. Land’s work is striking in its capacity to portray a nation in turmoil and one man’s place within this.

Gang of Three concludes the first part of the Photohastings exhibition and showcases the work of Brian Rybolt, Bob Mazzer and John Cole.

Redlands Fort-6 by Brian Rybolt

Brian Rybolt’s show is inspired by the seemingly dystopian waterways of The Medway Estuary and The River Thames. Disused towers (once part of a now defunct military defence system) are captured with immaculate precision, as grandiose structures rise from the water below. Rybolt’s work is defined by his ability to portray the neglected and disused in a manner seemingly devoid of time and place.

Bob Mazzer’s photos provide a detailed insight into a rich array of subjects from across the social hierarchy. His work is underpinned by a subversive and at times almost voyeuristic approach. Images of drug-fuelled revellers at a music festival in the 1970’s are juxtaposed with quiet portraits, captured at dusk. Mazzer’s work is vibrant and spontaneous in style, presenting an unflinching portrayal of the human condition, imperfections and all.

Photographer John Cole with his work

John Cole’s specifically curated images are a purposeful response to the media’s hostile portrayal of the AIDS crisis in the 1980’s. Cole spent thirty years working as a photographer within the U.K health industry. His images are part of a much broader body of work and present a dignified insight into the devastating legacy of AIDS. Cole’s poignant visuals give a much needed voice to some of the most marginalised in society, whilst also conveying an overarching sense of hope for generations to come.

Photohastings – Part 1 is an insightful exhibition of great depth and creative merit. It ran from the 29th October-10th November 2019.

Photohastings – Part 2 runs from the 12th-24th of November 2019. The second part of the show features work by Roger Hopgood and Steve Barnes, details of which can be found via the Gallery at Hastings Arts Forum

The Photohastings Season of Photography for this year is well underway. Two of the critically acclaimed ‘Photology’ photography talks at Printworks in Claremont, Hastings have been given, with two to come from Anne Lydiat and Ingrid Pollard. A four-woman show is currently on at Solaris in St Leonards by the Edge Group, and the work of Marybeth Haas can be seen on Hastings seafront opposite Debenhams.

Four photographic exhibitions are programmed for the Arts Forum, beginning on 29^th October, with a black and white project, ‘In the land of Cockaigne’ by Ian Land. Land has taken a walk around the coast of Kent, aiming his camera away from the sea towards the way that the people of that county live and arrange their environment in these transient political times. Alongside this show, the work of three venerable practitioners will be exhibited. Bob Mazzer, John Cole and Brian Rybolt will display a retrospective of favoured successes from their long careers.

Following on from those two shows, fine art photographer Roger Hopgood’s high-quality images, interiors juxtaposed with surreal interventions, will be exhibited in binary with Steve Barnes’ work, an investigation of the international style of the De La Warr pavilion in Bexhill. Barnes has reduced the images to a series of with a linear quality. The images are reductive and spatial.

Throughout November Hastings Contemporary will have Nigel Shafran’s book, ‘The People on the Streets’ for sale in their gallery shop as part of the Photohastings Season. The book was produced as a heartfelt response to issues of homelessness. All profits from the sale of the book are shared between three charities; Crisis, St Mungo’s and Shelter.

So far Shafran has donated £5,000.00 to these charities. In his images the photographer has handed the camera to his subjects to take a picture from their point of view; giving them creative power. A strategy that suggests that we look at ourselves in engaging with the homeless. Their names and sometimes their origins are stated at the bottom of each page giving them identity without visually revealing them as ‘helpless victims’. It prompts us to inhabit their perspective on the flow of everyday life. There are 24,000 rough sleepers in Great Britain, approximately double the 2018 figure; 84,740 households live in temporary accommodation including 120,000 children, according to government statistics.

Photohastings is a creative photographic umbrella group with a self-initiated remit to develop creative and cultural opportunities for photographers in Hastings and St Leonards. It seeks to cultivate a range of creative and socially-beneficial public projects. It is a not-for-profit organisation delivering an annual season-of-photography; www.photohastings.org

Beacon Jazz

Fans of avant-garde music are in for a double treat at the Beacon in October. Free jazz trio Somersaults are touring their new album ‘Numerology of Birdsong’ (West Hill Records) featuring local bass hero Olie Brice, Dutch reeds player Tobias Delius and drummer Mark Sanders. The second half of the gig features a set of solo sax from improv pioneer Trevor Watts (interviewed in HIP in March this year). Tickets £5 on the door. 8pm Thursday 17th October 8pm The Beacon 67-68 St Marys Terrace, Hastings, East Sussex,TN34 3LS.

Big Band at Kino

Following the sold-out show in May this year, the Big Band at the Kino returns on 19th October, 2019 with 2 shows at the iconic St. Leonards venue. The seventeen-piece big band is augmented by 4 guest singers known to most who frequent the local scene; Chantelle Duncan, Dr. Savage, Blair McKitchan, Bev Lee Harling and featuring their own original songs. This round of performances will include fantastic new arrangements from Frank Moon, Chris White and Greg Heath. We have the best lead performers, blistering improvised solos and an exhilarating modern big band. All you could want from a musical extravaganza. Check out the compilation video from the last show, you can book your tickets on the Kino’s website.

Blues in the Afternoon 

Following last year’s fantastic show, Blues in the afternoon is back at The Sea Angling Club on The Stade in Hastings Old Town, on Sunday 6th October, from 2pm (free entry, donations to St Michael’s Hospice welcome). The Mayor will be opening this year’s proceedings and local Historian and music expert Andre Palfrey-Martin will be the show’s MC. There will be incredible live Music from the talented: Freak Flag; Pete Prescott and Friends; an appearance from the Eric Harmer Band; and music and poetry from Pete Brown. A new CD will be available for £5, featuring fab local bands including Kingsize Slim, Roger Hubbard, Nelson King, Peter O’Donnell plus many more. Proceeds from CD sales will go to St Michael’s Hospice.

Plastication Imagination 

From 17 September to 27 October 2019, Marybeth Haas will be displaying work in six locations on advertising boards along Hastings and St Leonards Seafront, as part of both Coastal Currents and Photohastings season. Two sets of images are opposite the rear of Debenhams, close to the underground walkway from the underground car park, and another pair are to the left heading towards Hastings Pier.

Haas comments: “These images are a result of my own exploration and expression of multiple conflicting thoughts and feelings about the environmental challenges we collectively face. Overall, I feel optimistic about our capacity for connecting with and caring for our environment. I also feel an urgent need for collective shifts in attitude, and frustration about how difficult it sometimes is for me to make better choices and also what I see as continuing mass complacency. We are slowly waking up to the need to change our behaviour, particularly our attachment to using plastics and habit of throwing things away after use. We still need to find motivation and inspiration to commit to making more holistic and less convenient choices.”

New Reggae Sound 

Humble Rumble Sound System is a new Hastings’ based reggae Sound that’ll be powering The Hastings Dub Club. First session at Crowleys Bar, 56-57 Havelock Road, Hastings, TN34 1BE on Saturday 19 October, 9 pm till late, free entry. Run by father and son, Charlie and Jamie Woods, Humble Rumble is supplying a musical treat for lovers of reggae music, coincidentally during Black History month. The duo have built a massive System that pumps out heavy vintage and new reggae, from the 1970’s right up to date, including Humble Rumble’s own slab of newly released 7” vinyl featuring singer Milton Blake on one of Jamie’s crucial rhythms.