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'Shingle' Exhibition Portfolio - presentation and marketing plan

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'Shingle' Exhibition Portfolio - presentation and marketing plan

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'Shingle' Exhibition to be held Aldeburgh Ballroom Arts Gallery, 17th - 23rd Mayoux 2023 jointly with my partner, painter and OCA SYP painting student, Howard Andrews.

This webpage link to my contribution brings together photography, prints and books inspired by Aldeburgh and Shingle Street that were produced as part of SYP.

This first (still ongoing) professional curation experience is making me think seriously about the practical and cost implications of different selection choices. The selection so far is my first steps along a 2 year plan. My focus is on strategies :

- to help me learn what is and what is not marketable to different types of buyer
- reduce costs of experimenting with different ways of combining a 'message' with products that people might buy
- help me develop a solid and diverse feedback network.

The selection attempts to balance:

- showcasing work like Walls 1, 2 and 5 that I think is eye-catching and impactful in representing my ethical voice but it remains to be seen whether tourist visitors want it to put on their wall. I am hoping this will be of interest to other artists and for networking.

- including more traditional landscape images like the seascapes and reflections on Walls 3 and 4. My daughter and partner said people of their generation like black and white as well as colour - despite somewhat more negative views from landscape photographers on You Tube.

- minimising costs on framing and presentation of large pieces through careful shopping and learning how to produce my own A3 prints. The frames I am treating as an investment because I can change the photographs if this selection does not sell.

- a varied selection of mounted prints and cards that are low cost to produce and for buyers. Using this as a means of promotion of my 'brand'. What sells and what does not will be a useful indicator of what sorts of images might be successful in larger formats and/or more expensive aluminium, acrylic, canvas etc surfaces.

- deciding to market test review copies of a range of books that can be ordered through Blurb. Ordering and direct selling at this point with Blurb would be very expensive and risky. I am encouraging audience engagement in a review process to find out the types of format and approach different people might buy so that I can finalise the books accordingly before I spend a lot of money on publication. This will raise awareness and my own profile, and generate a contact list of people to be notified when specific books are finally published - aiming for the end of summer.

I am also using the exhibition as a way to establish a social media presence:
- using SMUGMUG as my portfolio, archive and sales site for which pricelists will be activated just before the exhibition.
- using Instagram to develop a universally accessible peer discussion network to reach people not only in specific UK locations, but also globally
- using Facebook as a second network linked to Instagram, but having the Google Translate facility and albums
- continue to use media-specific WordPress blogs to showcase some of my work, but also broaden my visibility through giving technical notes and tips on specific media like Photography and Printmaking. These also provide a good place for me to archive all my background research and links to information I myself find useful.
- continue to use and link Pinterest as another way of networking and archiving links to work I find inspiring. Particularly for Printmaking.

All the above to be systematically linked and channelling people to relevant sections on a clearly structured SMUGMUG website.

I am aiming to finalise all the Shingle-related products by end of August. Then move on to the other Cambridge-based SYP products for a second solo exhibition locally end of November.

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Art and Photography Exhibition May 17th - 23rd 2023 at Aldeburgh Ballroom Arts Gallery. The exhibition brings together works inspired by Shingle Street and Aldeburgh on the Suffolk Shingle Coast. It includes:

Photographs, prints and books by

Linda Mayoux

Paintings by

Howard Andrews

This webpage is for the contributions by Linda Mayoux. A link for the works by Howard Andrews will be given shortly.

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Art and Photography Exhibition May 17th - 23rd 2023 at Aldeburgh Ballroom Arts Gallery. The exhibition brings together works inspired by Shingle Street and Aldeburgh on the Suffolk Shingle Coast. It includes: Photographs, prints and books by Linda Mayoux Paintings by Howard Andrews This webpage is for the contributions by Linda Mayoux.

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'Tales from the Edge' is a series of visual narrative 'tales' based on experience of 'Edge locations' produced for BA in Visual Communications final module 'Sustaining Your Practice' with Open College of the Arts, UK.

Underpinning all the projects is an interest in conceptual 'edges', the nature of experience and 'reality' and implications for activism to challenge and change social and economic inequalities and human environmental impacts.

In each location I work across different media: documentary and creative photography, sketching, moving image and creative writing in order to investigate multiple perspectives of space and time in each location. I am particularly interested in interlinkages, interferences and tensions between:

- 'stream of consciousness now-time' and documentary: ways of heightening personal experiences of place affecting 'hauntings' from past memories and future visions, hopes and fears merge in our experience of the present.

- 'shifting histories', memory and imagination: ways in which multi-layered and multi-perspectives on physical, social and environmental remembered and re-imagined 'realities' are manipulated for consumption in the present time.

- 'unstable imaginings' of future uncertainties - where alternative potentialities are often shaped and restricted not only by personal experiences, but powerful economic and political forces.

The main focus of the portfolios presented here is on sequential book narratives in photographic media for physical and on-line viewing. But these portfolios are based on supporting work across the different media to produce a more informed and in-depth understanding of place in both subjective and objective terms. My work also explores how the specific aesthetics that can be achieved in different media affect perception, understanding and communication to inspire activism 'to make the world a better place'.

Edge Narratives

Edges of Disrupt ion: Everyday Gremlins is a body of photography, sketchbook and video-based books and images about everyday experience and real and imagined realities in my house and garden.

Edges of Subur bia: Anywhere Road is a series of documentary and creative photography books and digital images about the road where I live.

Edges Found: Aldeburgh Suffolk Coast is a series of photobooks based on found texture and texts in Aldeburgh, a tourist town on the Suffolk Coast. The narratives are also informed by documentary and creative photography around the town.

Edges Shifting : Shingle Street, Suffolk Coast is a body of creative photography, sketches, printmaking and creative writing about Shingle Street, a small row of (now luxury) cottages in a minimalist shingle landscape on the Suffolk Coast.

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'Tales from the Edge': Visual Communications Portfolio 2023

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Illustrated books and creative photography from the 'edgelands' of Cambridge and Suffolk Coast, UK. Drawing on sketches, video and iPhone and DSLR photography, the psycho-geography projects explore different creative workflows and complex interlinkages between personal 'subjective edges' and 'objective edge' environmental and socio-political documentary.

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A body of work in different media charting personal reflections and imaginings in my house and wildlife garden. As attempts at 'mindfulness' are inevitably disrupted by external 'gremlin' realities of environmental change and sense of insecurity in the face of political uncertainties and misinformation.

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Creative cyanotype photography and poetry about mindfulness and its disruptions by external realities of environmental change and insecurity in the face of political uncertainties and misinformation.

This project started with images from old iPhone video of butterflies and birds in my garden, coupled with 'stream of consciousness' jottings in a sketchbook of quick sketches and media experiments - some of which have been further developed in Tales of Gremlin and Home Movies . The photographs themselves were too blurry and blown out to qualify as 'photography' but as I experimented in turning them into photo screen prints, I discovered the intriguing beauty of the light and shape contrasts using Cyanotype filters in Silver FX. I was particularly intrigued by the spiky figures of dried weeds and the haunting suggested shapes through a plastic vegetable bell cloche.

So I took more photographs of light and shapes where I experimented more with the potential 'spectres' and imagined 'realities' in the garden against the backdrop of climate change, disappearing hedgehogs and political conflicts on the news. Developing my sketchbook notes as experimental poetry and looking at the work of other writers around an emerging theme of 'beauty, truth and reality.'

Unfortunately over the winter of 2023 two of my neighbours installed wood-burning stoves emitting smells and smoke that give me breathing problems. So I can no longer guarantee any peace in the garden. Unless I now take action to protect everyone's right to breathe fresh air.

The world is blue at its edges and in its depths. This blue is the light that gets lost...
This light that does not touch us, does not travel the whole distance, the light that gets lost,
gives us the beauty of the world, so much of which is in the colour blue.

( Rebecca Solnit 2005 'A Field Guide to Getting Lost' p29)

"Reports that say that something hasn't happened are always interesting to me,
because as we know, there are
known knowns; there are things we know we know.
We also know there are
known unknowns; that is to say we know there are some things we do not know.
But there are also
unknown unknowns-the ones we don't know we don't know.
And if one looks throughout the history of our country and other free countries,
it is the latter category that tends to be the difficult ones."

(Donald Rumsfeld, 2002 speaking of the Iraq War)

If beauty is truth, And truth beauty, And beauty is blue, And blue is light, But truth gets lost,

What light do we choose to follow?

(Linda Mayoux, 2022, Spectres in Blue)

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Creative cyanotype photography and poetry of personal reflections and imaginings in my English wildlife garden. As attempts at 'mindfulness' are inevitably disrupted by external realities of environmental change and sense of insecurity in the face of political uncertainties and misinformation.

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Creative photography experimenting with different Topaz Studio art styles to suggest imagined environmental, social and political narratives based on photographs in my English wildlife garden. These are being further developed over time in parallel to short story creative writing for eventual publication as graphic fiction narratives.

Suet Wars: Imagined tale about war and conflict suggested by photographs of hazel nut shells in a bird feeder for suet cakes after they have been nibbled by squirrels. Uses Topaz Studio oil painting filter.

Bone Fairies: Images of old chicken bones dug up by squirrels, cats and birds from home compost in my garden. These 'meat eating remnants' are not only exposed in scatterings of leaves. But also carried by squirrels onto old logs and other surfaces to sharpen their teeth on. Processed in a range of Topaz Studio basic adjustment and drawing filters to produce different illustration styles.

Summer Paintings: Summer photographs of my garden using different art painting styles in Topaz Studio to create different moods from the stillness of dawn and water to the turbulence of wind and searing heat.

Fishing Reflections: Uses a range of Topaz Studio art and AI filters to create different interpretations of found reflections of wire and bell cloches in a plastic bird bath.

The Plastic Hedgehog: Illustrations for a short story about disappearing hedgehogs in my garden. Uses Topaz art filters.

Still Life: Painting styles from photographs of objects in my garden using Topaz Sharpening and art painting and drawing filters.

The Bell Jar: Dystopian science fiction images suggested by Topaz Studio AI filters of light and distortions through the plastic bell jars used to protect plants in my garden.

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Creative photography experimenting with different Topaz Studio art styles to suggest imagined environmental, social and political narratives based on photographs in my English wildlife garden. These are being further developed over time in parallel to short story creative writing for eventual publication as graphic fiction narratives.

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Gremlin Tales are based on sketchbook diaries and exercises 2020-2022. These are part of ongoing work towards a publication of graphic flash and short fiction tales exploring subjective experiences and imaginings in the context of 'real' events in my everyday life and global news disruptions of climate change, conflict and general political uncertainties and misinformation.

Drawings, collage, solarplate and drypoint images have been enhanced to support subconscious surreal narratives through different scanning techniques and/or processing in DxO Silver FX and/or Topaz Studio.

Life of Gremlin is based on impasto sketches with gesso, modelling paste and masking tape coloured by ink washes. These were then photographed and enhanced using Topaz Studio.

Garden of Paradise uses dampened and torn magazine paper collage pages in my sketchbook, photographed and enhanced blending Topaz Studio oil painting and charcoal sketch filters. A poem suggested by these images will be used as the basis for development of further imagery.

Rat Tales 1 and 2 are based on pages in my sketchbook diary and a creative cut folded zine about invasions of rats in my garden during Lockdown.

Landscape in Red is a creative cut folded zine that suggested a dystopian landscape produced by flooding and global warming - produced before the dramatic real flooding and warming events on our TV screens in summer of 2022.

The Cat Next Door is an experimental portfolio based sketches, video and a short story about the arrival of our neighbour's new cat during the fledging season in the spring of 2022. Photos of these were used as the basis for dry point and solar plate prints, some of which were then further photographed and developed in Topaz Studio. These experiments suggest a range of image-making approaches that will be further developed as new sequential illustrations for the final text.

Everyday is a Life Experiment: Collage and mixed media images from my Sketchbook Diary 2021-2022 charting my everyday thoughts in response to everyday events and the TV news. In some cases these respond to prompts from a random selection of photographs by Elliott Erwitt that are found on many of the pages in this particular diary.

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Drawings, collage, solarplate and drypoint images from my sketchbook diary 2021-2022. These explore my subjective experiences and imaginings prompted by events in my everyday life and disruptions by global news about external realities of environmental change and insecurity in the face of political uncertainties and misinformation.

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Home Movies is a series of animations and creative video narratives about the experiences of everyday life in my home, garden and the street where I live.

They experiment with different moving images approaches:

Love, Life and Death in Stop Motion is a series of stop motion animations of kitchen and household items, sometimes humorous but also depicting violence and feelings of frustration at the powerlessness of much of everyday life.

Wildlife Experiments use video of different animals in my garden, using After Effects and Creation Effects templates to mimic family videos, but also convey different moods - nostalgia for hedgehogs that seem no longer to come to the garden, cartoon cats.

Walking in Fragments explores different fragmentary experiences of walking down my 'Anywhere Street' based on hyperlapse and SloMo iPhone footage and photographs at different times of the year.

A series of garden wildlife videos processed in different Creation Effects styles.

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Home Movies is a series of animations and creative video narratives about the experiences of everyday life in my home, garden and the street where I live. They experiment with different moving images approaches: Love, Life and Death in Stop Motion is a series of stop motion animations of kitchen and household items, sometimes humorous but also depicting violence and feelings of frustration at the powerlessness of much of everyday life.

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Edges of suburbia explores alternative approaches to photographic storytelling as a way of understanding and experiencing life in ‘Anywhere Road’ near where I live on the suburban edges of one of the thriving towns in England. Presenting a complicated mix of sterile concrete conformity, quirky humo…

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Framed in Noir is a fine art photobook using DxO Silver FX film noir filters. It selects and frames different scenes, textures and shapes for their abstract qualities and 'see what things look like photographed' (Gary Winogrand). The sequencing and juxtaposition is based on aesthetic rather than narrative choices - ability to shock, intrigue or convey unexpected beauty in the everyday.

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Xmas in Fragments uses colour photography in a more random way, combining sections of scenes to create an overall impression of my subjective feelings walking along the street during Lockdown in Christmas 2021.

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Happenings in Anywhere Road is a black and white documentary photobook about events and 'happenings' - or obvious lack of them - and different individual responses evident from external appearances of houses along the street. The narrative is based on self-conscious sequencing and juxtaposition of photographs taken 2014 - 2022.

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Colours of Suburbia are experimental digital images in different printmaking styles that formed part of my creative exploration of 'different ways of seeing' everyday scenes in an 'Anywhere Road'. Digital print styles using Lightroom or Photoshiop include photoscreen, woodcut and sepia solarplate.

November 2021: I started taking photographs again as an accompaniment to the 'Fragments Walking' moving image project. Inspired partly by the pumpkins someone had placed on the roof of their porch, together with the beautiful golden leaves, frosts and mists.

Solar plate prints can be very detailed and have soft, dreamy feelwith subtle tone gradations produced by the way that the ink interacts with the paper. These digital prints were produced in DxO Silver FX sepia filters.

Woodcuts accentuate shapes and lines around shapes. They can be differentially inked using brushes or dabs. But the range of colours produced by these photographs processed with Photoshop woodcut filter would be difficult to achieve.

Photoscreen printmaking has a gritty texture. Each colour needs its own screen, but the colours can overlay each other to produce new colours. These images were produced through colouring then blending Photoshop layers.

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Colours of Suburbia are experimental digital images in different printmaking styles that formed part of my creative exploration of 'different ways of seeing' everyday scenes in an 'Anywhere Road'. Digital print styles using Lightroom or Photoshiop include photoscreen, woodcut and sepia solarplate.

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Edges Found i s a series of book and single image narratives based inspired by detail photographs of found textures around Aldeburgh in Suffolk.

The name "Aldeburgh" derives from the Old English ald (old) and burgh (fortification), although this structure, along with much of the Tudor town, has now been lost to the sea. In the 16th century, Aldeburgh was a leading port and had a flourishing shipbuilding industry. Aldeburgh's importance as a port declined as the River Alde silted up and larger ships could no longer berth. It survived mainly on fishing until the 19th century, when it also became a seaside resort. As a popular tourist town it has a thriving artistic as well as festival tradition on which some of my work draws.

Aldeburgh is currently 'on the edge' in a number of ways:

- geographically it is extremely vulnerable to encroachment of the sea. Half the land originally occupied by Aldeburgh in the middle ages has now disappeared through both gradual erosion and storm disasters. The sea is currently held at bay with barriers and groynes, but the area is threatened in the longer term by global warming.

- to the North the skyline is dominated by Sizewell nuclear power station - with periodic leaks though none so far serious. The current strategic government focus on nuclear energy and likely development of the new nuclear power station at Sizewell C will lead to profound ecological and economic changes.

'Rust Poems: Erasures for the 21st Century' are a series of erasure poems suggested by found images in a rusty tractor on Aldeburgh beach.

'A Mermaid's Tale' is an imaginary narrative about gender violence and mythologies based very loosely on re-reading of local folk tales about mermaids, wild men and sea monsters. Inspired by iPad photographs of found images in wooden boards by the fishing boats along the beach.

'Moot Histories: Aldeburgh written in stone' is a series of semi-factual historical vignettes, based loosely on historical 'facts', based on imaginary scenes from iPad photographs of found images in the flint stonework of the Moot Hall, now a museum.'

'Aldeburgh Edgescapes' : Photography and photo screen prints of Aldeburgh seascapes, people and urban landscapes showing the continually changing economic, social and environmental context.

'Aldeburgh Edgescapes' is in the process of further development for 'Shingle' a joint exhibition of photography and artwork with painter Howard Andrews in Aldeburgh Ballroom Arts Gallery, May 2023. The books and images presented here are still ongoing projects for which the final text still needs to be finalised building on input from people in Aldeburgh and elsewhere 2023-2024.

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Illustrated books based on found images and narratives from wood, flint and a rusty tractor from the beach and Moot hall in Aldeburgh, Suffolk, UK. Cropped photographic images taken on an iPad suggest narratives around local and global environmental and social issues.

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Rust Poems: Erasures for the 21st Century

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Rust Poems: Erasures for the 21st Century

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‘Rust Poems; Erasures for the 21st Century’ are a series of three erasure poems suggested by found images from a rusty tractor on the beach in Aldeburgh in Suffolk.

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“I hear those voices that will not be drowned”

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'Facts are not Truth but the record of what's left on the record. It is up to the living to interpret, or, indeed, misinterpret,

those accounts."

Hilary Mantell, interview Radio 4 2017

"The Moot Hall in Aldeburgh was built during the first half of the 16th Century; the experts agree. Beyond that, however, there is no certainty. No documentary evidence exists; the style of the building suggests to one expert that it was built about 1520 and to another about 1550. We must be content with that. What we do know is that the building of Aldeburgh's Town Hall coincided with the beginning of a period of prosperity in the town which lasted approximately 150 years."
Moot Hall Museum website

The images in this book were developed from snapshots of the cracks, marks and fissures in the flintstones on the wall of the hall. Inspired by different accounts of the history of Aldeburgh from the Pliocene 'Coralline Crags' to the current days challenges the town faces.

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'Facts are not Truth but the record of what's left on the record. It is up to the living to interpret, or, indeed, misinterpret, those accounts." Hilary Mantell, interview Radio 4 2017 "The Moot Hall in Aldeburgh was built during the first half of the 16th Century; the experts agree.

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Edges Shifting: Shingle Street, Suffolk Coast

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Edges Shifting: Shingle Street, Suffolk Coast

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Shingle Street is a small remote coastal hamlet at the mouth of Orford Ness, connected via Hollesley village situated between the ancient town of Orford and the small manor town of Bawdsey.

Shingle Street itself consists of a row of cottages of varying age in a minimalist and haunting shingle landscape. It was established as a community of fishing families and river pilots for the River Ore in the early 19th century. The four Martello towers south of Shingle Street were built in 1808-1809. Coastguard cottages at the North end of the beach housed coastguards who worked as pilots, lifeboatmen and excise men to control the smuggling. In the 1930s it became an important place for remote tourism when several of the houses remaining today were built. During World War II this area of the coast was one of the main lines of defence and several buildings were destroyed, including the Lifeboat Inn, the hamlet's only pub.

Today many of the cottages are picturesque but quite expensive holiday lets. An important feature is the Shell Line artwork created by two friends who visited during recovery from cancer. It has since been continually maintained as a prominent local landmark. The settlement has also inspired music and poetry. There are also a number of historical and environmental books by local people, and a Facebook page for people who visit regularly - discussing issue like fishing, local developments etc.

The settlement is part of a very fragile and unique coastal strip. The beach is a designated SSI because of its rare vegetated shingle, little terns, saline lagoons and geology. A report from October 2004 suggested that Shingle Street is at risk from the sea and could disappear by 2024 if sea defences are not erected. North Sea windfarms can be seen in the distance on a fine days. Current proposed development of the area around nuclear power at Sizewell and the current Freeport proposals for Felixstowe and Harwich also mean that the whole area will change significantly in the coming years.

My understanding of the place has changed and deepened since my first visit in January 2020 on the eve of Brexit. My first very bleak impressions in my dark mood of post-Brexit alienation from anything English - heightened by the multiple Union Jacks on the deserted brown grey shingle where the only features were the shrivelled pillars of mullein. But on repeat visits at different times of the year I have come to really feel at home in the constantly changing environment where colours change dramatically with the seasons - flower cycles that transform the landscape, bird migrations and bird song and favourite times for colourful kites as holiday-makers join local people. The subsequent Covid-19 pandemic seriously limited my ability to pursue the sort of documentary work around economic and political views of local people - not only for my protection but because many are retired and older than me. But this is an ongoing project and going forward I look forward to developing further work in consultation with people living in the area, as well as other visitors like myself.

Edges Shifting present a subjective creative exploration of the details as well as 'bigger picture' issues that have shaped my own shifting feelings about staying as an outsider in a place quite close to home, but so very different.

Cracks in the Edge: a photobook from from a week stay in one of the holiday cottages along the shingle in the first week of October 2022. I was unable to walk very far because of an ankle and hip problem. This book takes a journey of imagination inspired by abstracted photographs of edges and reflections on objects inside the cottage.

Through the Window Pane : a photobook from the same stay in the first week of October 2022. This second book documents the ever changing light, weather and views from the window. Contrasting the complete economic and political turmoil in the world beyond the shingle that I watched on the TV screen and reported in the local press.

Shingle Song (forthcoming March 2023): a book of poetry written in and about Shingle Street and illustrated by sketches using tools from the beach and abstract gelli-plate monoprints. Based on sketchbooks, photography, video and notes 2020-2022. To be added to and developed during a further visit to Shingle Street March 2023.

Colours of Shingle : documentary and creative photography from psychogeography photography and video 'derives' around Shingle Street 2021-2023.

All to form part of the joint exhibition 'Shingle' with painter Howard Andrews to be held in Akldeburgh Ballroom Arts Gallery May 17th-23rd 2023.

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Edges Shifting: Shingle Street, Suffolk Coast

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Shingle Street is a small remote coastal hamlet at the mouth of Orford Ness, connected via Hollesley village situated between the ancient town of Orford and the small manor town of Bawdsey. Shingle Street itself consists of a row of cottages of varying age in a minimalist and haunting shingle landscape.

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Cracks in the Edge: a photobook from from a week stay in one of the holiday cottages along the shingle in the first week of October 2022. I was unable to walk very far because of an ankle and hip problem. This book takes a journey of imagination inspired by abstracted photographs of edges and reflections on objects inside the cottage.

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Cracks in the Edge: a photobook from from a week stay in one of the holiday cottages along the shingle in the first week of October 2022. I was unable to walk very far because of an ankle and hip problem.

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Shingle Song: Illustrated poetry forthcoming

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Shingle Song: Illustrated poetry forthcoming

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Colours of Shingle: Creative Photography 

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Colours of Shingle: Creative Photography 

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Creative photography of the changing moods, weather and seasons in of the remote hamlet of Shingle Street on the Suffolk Coast, East Anglia, UK.

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Creative documentary photographs and photoscreen prints presenting different perspectives on life in Aldeburgh.