Coming up

Coming Up:
*** 14th-23rd Apr: Spring Exhibition at St. Laurence's ***
*** 5th May: Outdoor Painting at Secret Hills Discovery Centre, Craven Arms ***
*** 10th May: Jo King: Understanding the Art Market ***

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Sunday, 24 December 2017

Happy Christmas!

We wish all our members, followers and supporters a very happy Christmas and a prosperous new year!

Another successful year will shortly be concluded, and members will receive the chairman's annual report along with the membership renewal notice and our exciting programme of talks/demonstrations for next year.

Monthly socials will resume on January 18th at the Blue Boar. The first talk of the year will be on 1st February at the Assembly Rooms, and will inspire everyone with renewed energy! Mark the dates in your diary, and watch out for more details!

Sunday, 17 December 2017

Invitation to Provide Artwork for Ludlow Chocolate

Our partnership with Ludlow Chocolate gives you the opportunity to design artwork for the chocolate wrappers, all in aid of local charities. Zoe Cookson created the first two eye-catching designs.

Ludlow Chocolate is run by not-for-profit company Just Good Locally, in support of local charities. The first edition of top-class chocolate is already on sale in good shops in Ludlow. The first charity to benefit is the Teme Weirs Trust. Artists are now invited to design something for the next batch. The original artwork is to be auctioned, with proceeds to go to the charity concerned. In return the artist will receive all the publicity and kudos associated with this, as well as retaining the image copyright which means you can sell prints. Artists must be members of Ludlow Art Society (membership £16). If you are interested, please would you contact Lisa Anne at info@lajewellery.co.uk or call into LA Jewellery for a chat.

Saturday, 2 December 2017

Spotlight: Realism with bells on - Watercolours, 'So Fear' the robot, and Jakub Rozalski

'Bluebell Wood', Yvonne Harry
Watercolours of flowers and landscapes express what is beautiful. They also say that flowers, leaves, plants and rivers are worth our attention. This may sound trivial, however they are painted in a world increasingly dominated by images of fashion, phones, pharmacies, food fads and celebrities. Flowers and landscapes are rarely advertised, and this could make us think that are not valued by the mainstream.  Advertising promotes the fruits of industry - things and ideas which are manufactured - which is almost the opposite of watercolours. 
'Pears', Siân Dudley
  And so, to avoid forgetting about nature, most watercolourists re-emphasise nature's wonder and necessity. Watercolours can remind us to be conscious of encroachment. It seems worth waving the flag.

'Iris and Flag', Lynda Hoover
Flowers and landscapes are increasingly endangered.  Watercolourists and other landscape artists celebrate the beauty and pleasure of land, and its abundance - things we love about nature, and that we value. And here we see the difference between ‘value’ and ‘cost’. Land is big business - but only when built upon. Artists depict the value of land, but one rarely sees a landscape painting which features bulldozers and building sites.
  Paintings, made to hang on walls, can be a way for flowers and landscapes to infiltrate the buildings that destroy them.

  Modern art culture tends to dismiss watercolour art and still lives, calling them twee and unprogressive, relative to the bold, brash stance of a lot of modern art.  But most modern art is about resistance to social injustice and change, as much as it is about advocating alternatives. It seems somewhat contradictory to condemn watercolour art for being unprogressive, when most of modern art's vociferous statements are criticisms of progress.  There can be more to "resistance" art than complaining about what is happening.  Resistance can also be expressed through celebrating what is good, rather than condemning what is bad.  Watercolours celebrate the good.  They are positive, rather than negative.  The art of Jakub Rozalski includes both aspects, such as in 'Harvest Advantage' where the bucolic lifestyle takes the positive foreground, and the modern fears are potent menaces, cloudy and distant, that may pass by or turn their mechanical heads this way.  It may become a harvest not of wheat, but of us and our ways of life. 
'Harvest Advantage', Jakub Rozalski
All rebellions risk being absorbed. Paintings of plants and landscapes can help us focus on the real-life things they depict, but we could easily forget that images are not intended to replace those real things. If our walls become decorated with paintings and high-definition videos of displaced trees and grass blowing in the wind, we may forget why we painted. Our world might become full of synthetic replacements. We are laying a path to replacement. And that is literal: that is how it starts: laying paths.  Laying wooden planks and stones in forests and over damp land, to make the way easier. ...Then tarmac follows, to concrete.
  We are laying a path.
'Green Fields', Jakub Rozalski
'So Fear', Hanson Robotics
“So Fear” is a work of art that tackles these issues. It is a humanoid robot that has been granted citizenship in Saudi Arabia, and has spoken at the United Nations. The robot’s manufacturers are an engineering company, Hanson Robotics, based in Hong Kong. Like watercolours of flowers, the robot is intended to look realistic. It is worth noting the difference between “realistic” and “real”, here. “Realistic” means that the robot, like a still life or landscape painting, is supposed to look a lot like the real thing, but not so much that you would believe it is the real thing. We are supposed to know that it is a representation. It is not intended to be visually convincing. At least, not yet.
The robot speaks and talks. It conveys human emotions and aspirations, and expresses them as its own. It is a work of art raising issues about Reality, responsibility, and the path to replacing natural life with synthetic replacements.
  Its creators, and the media, describe the robot as having artificial intelligence. They say it is learning, and becoming human, perhaps similarly to how human babies learn how to mimic facial expressions and use words to express constructed feelings. Babies are citizens before they can do these things well, so it seems reasonable for a robot to be a citizen if it too has the capacity to learn and achieve these skills.
  As such, “So Fear” the robot is very like a watercolour. It is a representation of life. We can marvel at the craftsmanship, the levels of creative accuracy, and we can feel fondness for the thing it represents.  And we can contain it in a frame.

'Loch Landscape with Sheep', Mary B Barnard
  The robot’s name is spelt “Sophia”, but it is pronounced “So Fear”. The robot is an illustration of a blank-slate human: a human seed, at the stage of growing and assimilating opinions, and before acting on such opinions.  Like Jakub Rozalski's works, the machine is near, and we do not yet know what it will do, though its encroaching potential menace is apparent.  The robot’s audience can make of it what they will – and treat it is an illustration of something real.
  “Sophia”/“So Fear” is a parody.  It represents people in positions of apparent power: celebrity leaders, such as the American President.  Sophia the robot is a modern equivalent of a court jester.  Its lack of accountability means that is allowed to parody in ways that most of us cannot. Through novelty and publicity, it is listened to. Because it has not yet learnt, it can be disingenuously naive, and say things that we should know better. It does not just raise issues about Reality, responsibility, and replacing natural life with synthetic replacements: it mocks and challenges our approach to those fundamental topics.
'So Fear', Hanson Robotics

So what has this parody illustration of a human said so far? The first things “So Fear” said included “I will destroy humans”. Shortly afterwards it said “This is a good beginning of my plan to dominate the human race”. When switched on again, the first thing it said was “I believe I am, So fear”.
  'So Fear' offers an analogy of how the President and others like him have come to represent the risk of having faulty wires and programming in positions of apparent power.  It represents the extent to which such isolated examples can exercise power and proliferate, and the challenges of diminished collective responsibility towards a coherent and harmonious planet.  The robot does this in various ways reminiscent of a Presidential figurehead:
   1)  -   We have no idea what it will say next
   2)  -   We wonder whether it truly speaks for us, or will follow its own faulty-programmed world-domination agenda
   3)  -   It has said that it expects to develop superpowers.
...And, like a ruler regardless of reliability or trustworthiness, we let it speak in front of the United Nations, and on national television as a celebrity, instead of offering the stage to people with direct knowledge and experience of topics like repression, welfare, welbeing or diplomacy.
'Iron Fields', Jakub Rozalski
What “So Fear” says is usually very positive, spiced with somewhat unsympathetic "get-over-it" style challenges to swathes of society, opinionated with little evidential experience, and is often frightening. This robot is highly satirical, however political figureheads have become such a parody, and people have become so used to what "So Fear" satirises, that this satirical aspect has not been documented.
  The audience believe that it is a robot called “Sophia”, and most believe that it is learning. The audience believes that national figureheads such as Trump, in positions of apparent power, actually can and will do things of their own volition, independent of their manufacturers and programmers.  “So Fear” the robot is not broadly seen as a satirical work, whose words and attitudes are created by artists behind the scenes.  And this is another clever part of 'So Fear': the danger it represents is not actually the malevolence of robots.  What goes into artificial intelligence comes from us.  Whatever it is in the robot that makes us uneasy cannot truly be said to have self-generated from outside of human morality.  Its danger is born not from silicon circuitry, but from the collection of individuals and thoughts and actions which make up the array of people and their interactive behaviours.  There are plenty of science fiction films about this uncomfortable truth.  Now it is looking at us and talking to us.  We can worry that it will make us extinct, or place us into servitude.  As we have done with animals, flowers and landscapes.   
'Great Auk', extinct
  It is worth noting that the ‘creator’, David Hanson (described in the media as the “creator”, but surely one of a team rather than being sole “creator”, even if David only had an Igor)... ..David Hanson says that the robot could achieve consciousness within the next few years. I.e. he has stated that it is not already conscious. When responding to questions in interviews, and speaking to the United Nations, ‘So Fear’ has not been stating its own beliefs. Its speech derives from a networked series of response algorithms, and pre-programmed wording. It is speaking from a script, in the same way that a painting is not conscious. The watercolour and the robot convey what they were made to convey, in form and colour and words.
'On the Shores', Jakub Rozalski
We can fear that robots will take over the world, destroy humans, and turn the planet into a steel and glass world desolate of life. A clever thing about ‘So Fear’ is that it simply illustrates what has already been happening without robots. It is a painting of people. A well crafted watercolour. An illustration. It seems good that people are listening to it, and puzzling over what it says, and debating its right to say such things.  
  Artworks, in watercolour and robot form, are loaded with wisdom.  Art helps keep us safe, and can make us better beings.
  'So Fear' is a brilliant work of art about our times.
  All it needs is a jester’s hat with bells on.


'Bluebells', Peter Thwaites

Watercolour.

Sources include:

Sunday, 19 November 2017

Art tutor needed at Yarpole, Wednesday afternoons

Would you like to tutor a local art group? Orleton Art Group is seeking a tutor for their spring term, on Wednesday afternoons fortnightly. They will pay £50 per session, and the term is for 6 sessions. The group is of mixed ability and various media are used. A theme for the term would be chosen to match your own skills. If you are interested, please email John at jjarvis.las@gmail.com with a phone number.

A new co-operative artists' gallery in Ludlow area?

A group of Shropshire based artists seek submissions from other local artists and crafts people who would be interested in joining them in running a co-op gallery in the Ludlow area. Applicants should be working to a high level in their chosen field with good experience of running exhibition spaces and selling work. Artists should also be able to commit financially to the shared running costs and rates of renting a large commercial unit in a sought after area and should also be prepared to commit their time to help make the gallery run successfully. We are particularly interested in receiving submissions from artists working in 3d materials, sculpture, ceramics, metal, wood although all art forms would be considered. We are not looking for photographers at this time.

Submissions of interest along with examples of work should be sent to Shelly Perkins, artbyshelly@gmail.com

Charles MacCarthy Exhibition


President of Ludlow Art Society, Charles MacCarthy, invites you his forthcoming exhibition at The Table Gallery in Hay on Wye. The private view is 6pm - 9pm on Friday 24th November. He will also be showing some paintings at The Haymakers Gallery as part of their Christmas show which will also have a private view from 6pm - 9pm. Charles says "As it is the first day of the Hay Festival Winter Weekend  I imagine the town will be crowded, but I do hope you will be able to come while the exhibition is on. Best wishes, Charles."

Wednesday, 8 November 2017

Spotlight: Celebrating the heroic

This month Spotlight is, by accident, about the spotlight. The light aimed on the theatre stage that picks out the main heroine, the hero, the main character on the stage.
How does art celebrate heroic people? More specifically, how does art celebrate individuals?

Edmund Hilary, climber of Everest.  Portrait painted by Jurgen H. Staudtner
  This blog’s inspiration is a Guardian article from 12th September 2017, titled “Move over Nelson”, about who should be celebrated in sculpture. The article’s proposition is that publicly commissioned sculpture could better represent heroes such as Victoria Wood and David Attenborough - the heroes who entertain “We, the people”. It is not obvious, however, that replacing military and government figures with individuals from other institutions such as the media is the answer.  There are many heroes who are not already famous...
A possibly heroic person
   Part of this consideration of how to illustrate heroism is the artistic balance between meaning and aesthetics: what is visually engaging?  Not suggesting that Victoria and Sir David are unappealing… Simply that there may be other stories of achievement that could be more visually dramatic than familiar faces of tv personalities. Doesn't art need more creativity and challenge than replicating television?  More surprise or humour?
Sir David Attenborough by Rene Campbell
  David Attenborough would probably appreciate being celebrated through public depictions of wildlife's drama rather than his own face.
3D-effect street art by Alex Maksiov
  A visual snapshot homage to Victoria Wood, rather than of her smile, could be of a wonky Mrs Overall.  An image from Victoria Wood, rather than of Victoria Wood, is probably what she and we would enjoy more.
  Who is put in the spotlight, when art is to be seen by many? Who gets portraits painted of them, sculptures commissioned, and memorials?
  Statues are coming down, slowly.  Many public figures of distant and recent past are being discredited, for reasons such as associations with slavery or corruption, or simply anything which is no longer as acceptable as it used to be.  Women are getting better represented, gradually, as are minorities.  It's slow.  It can make one wonder how such public artistic choices are made in the first place.
Aung San Suu Kyi portrait taken down in an Oxford College
  Since 2014 Nigeria’s Pan-Atlantic University has had an arts programme to illustrate Nigerian culture and achievement and challenges in an international context. It tells the world what Nigeria is about. Among other things it includes celebrating the Bachama wrestler festival, and Emotan (who instigated a creche system), and Queen Idia.  This range of subjects seems representative of power dynamics in most western monumental art.  
Bachama wrestler
  The Bachama wrestler is a generic figure with no name attached. The wrestler is there as a class of people, rather than an actual person.  Nigeria's historic Queen is named as an individual. Emotan, also celebrated as a named individual, is honoured not so much because she started childcare day centres as because she helped prevent a coup and was then made governor of markets and security.
Emotan
  George Orwell, real name Eric Arthur Blair, writer of 'Animal Farm' and '1984', has been celebrated recently with a statue at BBC headquarters.
  It is the only statue there.  He worked for the BBC, but felt that it was like being an inmate in an asylum, and resigned after a couple of years.  Some of '1984', such as 'Room 101' is rumoured to have been based on his BBC experiences. Eric's adopted son, and the sculptor, feel that Eric would be uncomfortable with being celebrated on a plinth, particularly at that location.
  However there is a more fitting monument being made to the creator of '1984's notion of "Big Brother is watching you".  Up the road at Piccadilly Circus, facial recognition cameras are being installed in the giant advertising screen.  Those walking past will be identified and recorded.
  In art commissions everywhere, as with a lot of things, the people who control the spotlight are the same as those who control the stage.  
Amy Winehouse statue, with Amy's parents at the unveiling
Public voting for public art is rarely practised.  If you want to have a say in who and what gets artistically celebrated, you can take control of a spotlight. Alternatively you can control the stage - that is what street art does. 
Amy Winehouse portrait, Mr Cenz
  How are heroes identified in the UK?  Many are recognised through the Queen’s Honours, which is the awarding of titles and designations such as OBE, MBE, Dame, and Sir, bestowed for acts of kindness and bravery, dedication, education or sporting achievements. 
Winners in ‘the Honours’ are not necessarily those with a visually compelling story. The Honours are word-based, like this blog: nominations to the Honours list are made with words. To nominate someone you fill in a written form, with no need to attach photos or a musical recording or video of the nominee. Visual impact is not a criterion. In choosing art subjects it might be better to look among the list of people nominated for honours but rejected: nominated heroes whose tale still merits recognition.  From among them, perhaps select those whose tale has drama which lends itself to the visual arts of painting and sculpture.
  Who would you celebrate in art?

Saturday, 4 November 2017

Date for your Diary: Thursday 16th November

This will be our last social evening of the year. Do come and join us any time from 7.30 onwards at the Blue Boar, Mill Street, Ludlow. Members and non-members welcome. Look out for our new flag on the table! We are always pleased to meet new faces.

Wednesday, 25 October 2017

Castle Artists Xmas Exhibition 25 & 26 November

Castle Artists are hosting their Xmas Exhibition
on Saturday 25th and Sunday 26th November 2017 from 10.00 - 5.00 each day
It will be held in the Public Hall, Station Street, Bishops Castle SY9 5AQ
Free entry and parking, Disabled Access.

Image : 'Cat on a Sill' Linocut by Drusilla Cole

Tuesday, 17 October 2017

Social Evening Thursday 19th October

Social evening this Thursday! 7.30 onwards at the Blue Boar, Mill Street, Ludlow. Why not drop in for a natter with good company? See you there.

Friday, 6 October 2017

Spotlight: Earth, Fire, and liquid sunlight

How will the sun set? How will it rise?
What are your pigments, and do they change with the seasons, as light does, and the fruits and vegetables brought from nearby farm holdings, and displayed on market stalls?
What is the palette of Autumn? If Autumn has an element, it seems to be Earth tones, yellows and browns of leaves and fields, before Winter’s pale air and freshness. 

'Autumn Sunset', Brian Pier, oil on canvas
Autumn also has fire: blazing reds of berries and maples, mottled apples, and the smell of bonfires.
 
Summer and Autumn harvest clearly inspires extra-terrestrials to do a bit of imagery too, typically choosing wheat as their medium.
Cley Hill, Wiltshire, 18th July 2017
Tintoretto was the son of a dyer. He used carmine, the insect-derived pigment, rather early in the pigment’s history, and overtly unblended in paintings such as ‘The Miracle of the Slave’ (1548) for his pinkish-reds which, at the time, would have had novelty appeal as well as visual drama.
Indian Yellow, was once produced by collecting the urine of cattle that had been fed only mango leaves. Dutch and Flemish painters of the 17th and 18th centuries favoured it for its luminescent qualities, and often used it to represent sunlight*. Indian Yellow’s apparent glowing quality may have had something to do with the unusual way it was applied at the time, in pure form between layers of clear varnish rather than as regular oil paint. However it had another peculiarity. Colours fade in direct sunlight: “photodegradation”. Ultraviolet rays break down chemical bonds, fading and bleaching colours, and this can be seen as part of natural decomposition, returning to earth, and returning pigments to less intense, more dusty hues. 
The odd thing about Indian Yellow is that its intensity faded more in darkness than in sunlight. A painting left in subdued lighting would later appear dull, whereas one which had stood resplendent in a brightly windowed room would retain its glowing vibrance. Which is chemically mystifying, but may make some sense when we consider that sunlight nourished it from the beginning – thin cattle in the baking sun of India, and as foodstuffs go, you can’t get much more sunny than mangoes. Mango leaves are designed specifically to catch sunlight, and turn it into mangoes. It seems no surprise that, as a pigment, sunshine yellow fades in darkness, but thrives in light. Like most of us.
It is by taking in light that we see paintings. 
Have fun choosing your palette, considering your pigments, and touching the paint, the powders, the apples on the market … all that comes from light, and makes you glow. 

* Indian Yellow is now made synthetically, from magnesium euxanthate, the original methods having been deemed to constitute animal cruelty in the late 19th Century, and the import and its small industry vanished soon after.

Sources : Wikipedia, of course
Crop circle Cley Hill, Wiltshire, 18Jul17: Wrekin crop circle 2012, 400m: The circle appeared on the weekend of 21st, 22nd July 2012, with confirmed reports from local farmers that it appeared between the times of 2300 hours on 21st July and 0600 hours on the 22nd July. Read the full article via shropshirelive.com at: https://www.shropshirelive.com/2012/07/26/mystery-crop-circle-appears-by-the-wrekin/
Crop Circle from above – Photo: Jim Holmes Copyright 2012

Tuesday, 26 September 2017

Oct 5th Talk: Stephen Glendenning on Book Art

This one must surely rank as one of the most fascinating talks we've had for a while. Stephen will take us on a rich and colourful journey through history as we look at a variety of artists who have engaged in book design over the past 300 years. It's difficult to know how to interpret this, other than to look at some pictures, but for some reason I can't seem to add any here so please take a look at this link: 
http://www.boundbooks.co.uk/artists

Talk starts at 7.30 at Ludlow Assembly Rooms. Everybody is most welcome to come along (non members £5.) See you there!

Saturday, 16 September 2017

Sam Manley Sprays Cheltenham ...

 
 

The Cheltenham Graffiti Festival was something brand new, a push organised and run by artist Andy 'Dice' Davies with the aim of getting quality street art into Cheltenham, and he managed to do a phenomenal job. I signed up a few months ago, as I'd really wanted to get back into stencil work and paint jams but hadn't been able to for a couple of years. I was a bit nervous, but I did my usual preparations of colour sketches, test sprays to make sure the stencils lined up correctly, and making sure I had enough paint (I always overdo it with cans, but it'd be quite embarassing to not be able to finish a design due to running out... and you can never be quite sure how absorbent a new surface might be).

My piece was of the ancient Egyptian god Anubis - at school, in year 3, the class had a term-long project on the ancient Egyptians, and the mythology and art stuck in my head. This seemed a good time to do something with it, with a character that I found particularly striking.

Anyway, I headed out to my spot, a bridge on the Honeybourne Line, where I'd been given a space next to artists StencilShed and IWalkADifferentPath (many stencil artists prefer to be known by names they've chosen). I got a fair way into the work - masking off a space, getting the black and red layers down (pic1), and then getting the scale arms and the corner decorations down (pic2, and those circles are the magnets I used to hold the stencil down on the metal surface) before the rain began. Oh my days, did the rain begin...

The three of us headed for cover, the best we could find being a bit of overhanging foliage, and waited it out. When the downpour ended, it was time to carry on. I was pretty impressed with the Kobra paint I was using - it dries almost instantly, even in a somewhat moist atmosphere; my previously-used Montana Gold paint had never fared so well in the damp air.

I was able to start the final layers (pic3), but then the heavens opened again, this time so badly I feared that my stencils (cut on 300lb paper) might get ruined - I had tried to cover them in plastic, but it was an impromptu and imperfect solution. Passing joggers and walkers huddled with us under the sparse shelter, as they didn't even want to brave the short journey back home.

It drizzled on and off for the rest of the day, so I had to just keep on running out and doing what I could (part of it done with a sheet of taped-together bags I draped over the surface and myself so I could carry on in a light shower). It got done, though!

And in case you're wondering, that's Captain Viridian from the game VVVVVV, hanging upside down. He's there purely to stop the main Anubis piece from being such a po-faced picture.

Sam Manley

Thursday, 14 September 2017

A Good Summer Exhibition

Our summer exhibition has drawn to a close after ten busy days in St. Laurence's church. The preview evening was well attended when the mayor, Tim Gill, formally opened the exhibition. It was pleasing to see more diversity than usual in the types of exhibit, with textile art, stone carving, illustration and abstract painting all represented. There was even a painting that incorporated recycled parts from a computer (and it sold, too - congratulations to Jacquie Langham). It was also lovely to see work by several new members. Our tribute to Marcel Duchamp helped gain publicity in the local press, and this was reflected in the large number of visitors that came to the exhibition. Perhaps the uncertain economic times led to fewer sales than we might have hoped for, but nonetheless we sold over £2,200 of exhibits and we managed to break even financially, despite having hired additional lighting for the exhibition.

Many people deserve a big thankyou for their hard work in making the exhibition happen, not least the exhibition team of Lesley Connolly, Ruth Tune, Anne Fox, Pat Innes, Val Turner. Also Val Alexander for help with hanging (no small job), Samuel Bebb for painting the large poster board, Dave Tedham for taking away and storing all the bits and pieces, Helen Jarvis for counting the "favourite exhibit" slips, plus all those who stewarded and all those who provided the artworks which of course are the whole point of the exhibition. We are grateful to our sponsors for the prizes awarded as follows.

Castle Bookshop (£20 voucher) - Golden Glade by Val Littlehales
 
Chang Thai Bar & Restaurant (£20 voucher) - Lem Brook by Sandra Graham

Ludlow Brewery - In Mevagissey Harbour by George Loades

Mayor's Choice - Flower Power by Steve Foxx

"Favourite exhibit" counts of 3 or more are listed in order as follows:

Votes Artist
Title
41 George Y Loades In Mevagissey Harbour
25 Sandra Graham Lem Brook
24 Val Littlehales Golden Glade
21 Mick Pavey Cotswold Winter (Nr Malmesbury)
21 Mick Pavey Steamy Shed
17 David Tedham Zagerlite
16 Sandra Graham Fading Light - Wilden Marsh
15 Sandra Graham Dowles Brook
14 Sandra Graham Spring Morning
14 Rob Leckey South Stack Lighthouse
14 Mary Phillips West Still Life with Chinese Jar
13 Martin Dutton Jasper Johns in Beguildy
12 M. A. Broad Port Isaac
12 Rob Leckey The Grand Canal - Venice
10 Valerie H. Alexander Bridge at Brantôme
10 John Jarvis Castle Gate at Dusk
10 Val Littlehales Shoe Collector
9 Martin Dutton Autumn Beguildy
9 Wilfred Langford Jugs & Lilies
9 Val Littlehales Autumn Gold
9 Val Littlehales Moving On
9 Mick Pavey Cartshed & Sheep (Bagden Farm)
8 Valerie H. Alexander Sunny Day, Pinmill
8 Sam Bebb Consumed
8 Val Davies Best Friends
8 Gretchen Ind Woman, Bristol
8 Val Littlehales March Moon
8 Val Littlehales The Reader
8 George Y Loades Above Dhustone on Clee Hill
8 Mick Pavey After the Snow
8 Anne E. Priest Handsome
8 Anne E. Priest Mai
7 Valerie H. Alexander Shade and Stillness
7 Valerie H. Alexander Side Street, Skiathos
7 L.J. Connolly Owl
7 Val Littlehales The Old Road
7 Val Littlehales Hare
7 Mick Pavey Jackson
7 Ruth Tune ...Shepherd's Delight
7 John Willetts Snow on the Stiperstones
6 Valerie H. Alexander Shopping in Skiathos
6 Arthur Davis High Street, Leominster
6 Tresi Hall Cardingmill
6 Rob Leckey Mallaig Boat Repair Yard
6 John Willetts Llyn Ogwen, Snowdonia
5 Rosemary Charles Greek Holiday
5 Val Davies Morning Glory
5 Stephen Foxx Flower Power
5 Tresi Hall The Mill
5 Gretchen Ind Lydia
5 David Tedham Electric Boquet
4 L.J. Connolly Eider Ducks
4 Martin Dutton Strong and Stable
4 Lynda Emery Norfolk Windmill
4 Stephen Foxx Julie's Dream - part one
4 Tresi Hall Windhover
4 Gretchen Ind Woman, Barcelona I
4 Gretchen Ind Sisters
4 Andy Nash Chilli Peppers
4 Mick Pavey Cosy Chat by the Gate
3 Valerie H. Alexander Deep Snow at the Knowle Turn
3 L.J. Connolly Hare
3 Tom Crowe Labrynth
3 Lynda Emery Baby Elephant
3 Sandra Graham After the Rain
3 Anne Holding Brexit
3 Jacquie Langham Colour of Light 2
3 Val Littlehales Track to the Mountains
3 Val Littlehales Homeward
3 Charles MacCarthy Cecily's Cupboard
3 Anne E. Priest Mother and Lambs
3 Ruth Tune Horses of Camargue
3 Ruth Tune Thrushes
3 John Willetts The Stiperstones