Upstairs at Gallery 1 (with 10 independent rooms)
Open Evening Saturday 9 September 6-8pm

September 7-10 and 14-17
Open Thursday to Sunday, 11am – 5pm
St Andrews Mews, Waldegrave St. (off Queens Road), Hastings, TN34 1SP

Featuring solo exhibitions by: Tracy Jones, Jeremy Llewellyn-Jones, Tim White, Richard Butchins, Joe Charrington, Louise Whitham and Patricia Webb.
Performance of ‘WAVE’ by Louise Whitham: Each Saturday afternoon at 3pm.

Exhibitions by Room

Nemophilist Series - Tracy Jones

Room 1. Tracy Jones

From the Series ‘Nemophilists’

A selection of work from an ongoing series. Nemophilists; those who are fond of the forest; haunters of the woods. The Finnish forests are full of folkloric delight, stories weave into the undergrowth as you walk among the trees. The forests are a part of everyday life, enriching and connecting the people to their culture. | @tracyjones_studio


Room 4. Richard Butchins


Exploring the rich tradition of floral symbolism in Nature Morte, whilst deploying a darker more visceral lexis, contemporary symbolic representations of exclusion and otherness. | @thewitheredhand

Patricia Webb, Navigating the Banbury Run

Room 7. Patricia Webb

Women Who Ride
Image: The Banbury Run, Navigating

We motorcycle riders revel in the freedom and exhilaration of bike riding. Who are we, women who ride bikes? We are anyone and everyone, in business, as mothers, as grandmothers, as adventure riders, nurses, police officers, as doctors and the list goes on and on.

The subjects are photographed on their bikes in their protective gear. Then off the bike, either at home at work or at leisure.

The contrast between the images is varied and stark. Who are we, women who ride bikes? We are anyone and everyone, in business, as mothers, as grandmothers, as adventure riders, nurses police officers, doctors and the list goes on and on.

We have moved on from the images from the sixties of rockers and skinheads getting into it on the beachfronts of southern England, yet the image persists as a stereotype. This project was also put together to help make women who ride more visible.

Because of the show I have had people contact me saying, ‘my mother rode a motorbike’. I asked for photographs if they had them and have included a few as a record of women who rode in the ‘30s, ’40’s, and 50’s. I list their names and a bio if I have one. To celebrate these women who rode bikes before most of us were born, and were stepping outside the normal.

We, motorcycle riders revel in the freedom and exhilaration of bike riding. We are lucky to have lived in an age when motorbikes were being developed to incredible heights of technological invention. We are lucky there are enthusiasts out there who will lovingly rebuild the bikes of the last century. We are lucky we had the chance to hear the roar of the combustion engine and were in control of such powerful machines. And we women can power our way along the routes of the world. | @pjwebbphoto

Jeremy Llewellyn-Jones

Room 2. Jeremy Llewellyn-Jones

Velodrome 1 – 7
Images printed on Awagami Murakumo Kozo white paper

Twenty million years ago the Bès valley north of Digne-les-Bains in Haute Provence, France, was a beach in front of mountains. Over millions of years the sea receded, and violent tectonic movement and the uplifting of a range of mountains created the folds of rock formations we see today. It’s a dramatic geological formation resembling a banked cycle track – origami on a grand scale.

This is the Velodrome d’Esclangon.

Humans seek to control nature and the world we inhabit and are part of. But we’re powerless against earthquakes, volcanoes, tsunamis, those seismic eruptions that shaped our planet long before our ancestors acquired the art of survival and control.

There are some forces we can mitigate, those of climate change – if we chose to.

“So there I lie on the plateau, under me the central core of fire from which was thrust this grumbling, grinding mass of plutonic rock, over me blue air, and between the fire of the rock and the fire of the sun, scree, soil and water, moss, grass, flower and tree, insect, bird and beast, rain and snow – the total mountain. Slowly I have found my way in.” Nan Shepherd, writer and poet | @jeremyljones

Joe Charrington - Beneath Mercia

Room 5. Joe Charrington

Beneath Mercia/Beneoðan Merci

Beneath Mercia/Beneoðan Merci lays the petty kingdom of South Saxons. A scarpering frost rolls over the land lunging at its burhs—from the sloped banks of Meacredesburna to the unforgiving shores of Hæstingas, tossed and hallowed, our kingdom is smothered in a bleak righteous light.

Through the blinkered eyes of the present day we look to the the land and our relationship with it, as before it has been witnessed and grieved over vast epochs of time. Dormant underneath this shallow surface lays the lived cracked veil of a now burdened soil, democratic to the eye in all its masked banality, yet still vaguely sodden with the beliefs and intrigue of those who once aligned with it – a gentle impossibility. To have parted from this ritualistic symbiosis seeds a grievance that we have yet to fully integrate in our collective truth.

Bastardised faiths birthed from old stories bulging out of the seems of this aged isle, a comforting solace on the fringes of this England. | @joecharrington

Tim White - In Dark Seas II

Room 3. Tim White

The ‘In Dark Seas (Special Edition)’ series – 2023 – 4 special edition prints developed from my original “In Dark Seas” series (2020-Present)
Image: In Dark Seas II – (Special Edition print) – 2023 
Edition of 5, 100cm x 100cm 
Giclee print on Archival Hahnemühle German Etching Fine Art paper 

‘By its very nature photography involves abstraction, or the reduction of human vision to a two-dimensional representation’.

‘In Dark Seas (Special edition)’ series explores the somewhat paradoxical relationship between real and pictorial space. The viewer is confronted by an image of profound dimension whilst simultaneously being drawn to the flat photographic surface. A strategy that perhaps examines the act of image making itself at a time when technology threatens to bring this distortion of reality into even sharper focus. 

Using framing and surface painting White reveals the photograph as object. This flattening of the pictorial space places us in what Gaston Bachelard termed ‘intimate immensity’ where the space of the personal and the universal blend. The images are prevented from drifting into pure abstraction by the traces of waves and clouds that emerge like brushstrokes on the picture plane. Perhaps questioning where does the precision of photography end and the creativity of painting begin? This strategy of image making is inspired by a rich inheritance of reductive aesthetics from Friedrich and Turner to Rothko and Ritcher. | @timewhitephoto

Louise Whitham

Room 6. Louise Whitham

WAVE: Green Splash – Polaroid i Type Film 

My experimental Polaroids and video reframe the journey of a terrifying sea swim and narrow escape on St Leonards Beach. This film and the accompanying artwork for me is an attempt at processing, containing and getting a new perspective on my near drowning just yards from the beach. 

As a conceptual artist following an experimental pathway I am lead by process and chance. I often use home spun techniques to combine photography and painting towards making multi layered and abstracted compositions. I have also employed intentional camera movement, the use of prisms and highly destructive methods in the creation of both the Wave polaroids and the Video work.

The Video will be also shown as part of the PhotoHastings Film festival at the Electric Palace on Sunday 10 th September at 11am. 

Related work from this collection is currently on exhibition in the De La Warr restaurant. Bexhill.


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