Meet the Academicians

The RWA is one of five Royal Academies of Great Britain and Ireland and has a maximum membership of 150 Academicians elected by their peers. Earlier this year 6 artists were elected as Royal West of England Academicians, This week we look at the work and inspiration of Terry Flaxton.

“I began sketching in earnest at 8, then painting, and on becoming a teenager I was fascinated with sound with which I created various works, until I first came across film and photography in 1971. At that time at Wimbledon College of Art I concentrated on painting but by 1976 I studied at University of East London a subject that was to become ‘Communication Design’. This was influenced by McLuhan, Carpenter and Buckminster Fuller – but hamstrung as it reached out for digital interdisciplinary by a set of analogue practices that kept ,materials separate.

Print from the sequence ‘Until I’m Gone’, printed onto aluminium , 42 x 23 inches

So from 1976 I began creating moving image artworks and won a prize in the fourth Tokyo Video Festival in 1979. Initially I worked creating artworks from scratch then on vbecoming a ‘media’ professional I turned to commercial work where I appropriated the footage I’d shot (for instance from companies such as Apple during the making of Ridley Scott’s famous 1984 commercial – this footage then became ‘Prisoners’). Through the eighties I fine tuned my art practice side by side with producing television work and I was responsible for creating a 5 part Channel 4 series called ‘On Video’, which charted British and then European Video Art), plus I was commissioned to make a piece entitled ‘The World Within Us’ alongside other leading video art personages in the Ghosts in the Machine series also on Channel 4. This work won prizes at the Locarno and Montbeliard Festivals. My work at that time went to many festivals, was shown in galleries and also museums.

These groups were Vida, which ran from 1976 to 1980, Triple Vision, which ran from 1980 to 1992 and Ignition Films from 2000 – 2008. In Vida we organised around 150 shows between 1976 and 1980, then co-organised the first UK independent video festival with other early video makers; Triple Vision had a retrospective of work at the Mill Valley Film Festival during the mid-eighties. I had another at the Den Haag Video Festival around the same time – the most recent was the Rome Film Festival in 2010. But, all that I really know is the work I have made has shown at many locations for many years – I’m not sure what it means to say that though.

Things changed In 2007 when I undertook the first practitioner-led research into the properties of high Resolution images, before commencing a Knowledge Exchange Fellowship at the University of Bristol, during this time I made many new works and showed work in Italy (Milan several times), China, France, New York, Japan and Sweden. In collaboration with BBC R&D and Uni of Bristol, I led the capture of first higher dynamic range, higher resolution and higher frame rate experiments to measure which combination of these developing parameters of image capture, would best engage the audience. I also created Uni of Bristol’s Centenary portraits. In 2013, I joined UWE  where I am now Professor of Cinematography and Lens Based Arts and Director of the Centre for Moving Image Research at the University of the West of England.”

 

Thanks to Terry for his work on this piece.

Summer Party and Postcard Auction

180 works by world-famous artists were sold anonymously as part of a special event held at the Royal West of England Academy (RWA) on 3 July. Over £23000 was raised for the RWA.  

Thanks to the generosity of some of the country’s leading artists, our Secret Postcard Auction raised a staggering £23000 in a special event held here on 3 July.  The RWA were delighted to have had over 180 small-scale artworks donated by artists such as Turner Prize winning and shortlisted artists Tracy Emin, Damien Hirst, Grayson Perry and Alison Wilding. The secret element was that the identity of who did which work remained unknown until after all the bids had been taken; bidders didn’t know for certain whose work they were buying until after they had paid for it.

See pictures from the event here 

The highlight of the event was the live auction which saw 15 lots auctioned by Bristol auctioneer Andrew Morgan of Hollis Morgan Property Auction. The lots included pieces by Grayson Perry and Tracy Emin alongside works by the Royal West of England Academy’s own Academicians, and other leading artists such as Aardman’s Peter Lord.  During the live bidding the drama was heightened through bidding wars which saw lots reach £2900 for what is now known to be a Damien Hirst.

The postcards had been on display at the gallery’s Queens Road location, prior to the live event, where visitors and potential collectors could view the items and place their silent bids. All the works started at a price of £40 and there was no set brief for submissions work varied from paintings, drawings and even sculpture provided they measured 14 x 19 cm (5½” x 7½”).

Review : Sea power: British art arising from the waves

With less than a week to go before the Power of Sea closes at the RWA, we share with you this review of the show by Lindsay Shaw Miller Smith, first published in June, in the online magazine for art and books site Cassone. 

Lindsey Shaw-Miller welcomes this ‘expansive, interdisciplinary discussion of what the sea means to us as human beings and as artists’

The Power of the Sea. Making Waves in British Art 1790–2014 edited by Janette Kerr and Christiana Payne

In theory, there is a gravitational attraction between every drop of sea-water and even the outmost star of the universe (Rachel Carson)

The Power of the Sea is an expansive, interdisciplinary discussion of what the sea means to us as human beings and as artists. Its contributors – an art historian, two artists, a cultural geographer, two mathematicians and an oceanographer – write about wave energy, the visual magnetism of the sea, maritime culture and geography, and the practice of representation. These disciplines also combine: Simon Read is an artist whose home is a Dutch sea-barge, and he interacts daily with the science of the saltmarsh where he lives. Janette Kerr is an artist (and President of the Royal West of England Academy (RWA)) who has been working with an oceanography institute in Bergen, Norway.

The book is published in association with an exhibition at the RWA in Bristol, which is on until 6 July 2014. The exhibition is terrific, and the full power of the publication only exerts alongside the gallery experience, the third dimension. Installations bring the theme to life, and some artists are more fully represented than they appear in the book. Will Maclean, for example, is a great inclusion, his strange, talismanic mythology embedded in sea-relic boxes. But the book shows one piece, whereas the show has four.

While the range of work is thrilling, there are some puzzling absences. I particularly missed the vital, running seas of William McTaggart (1835–1910) and the caustic, coastal abstracts of Jeremy Gardiner,  for whose monograph last year Christiana Payne wrote an essay, making his omission especially perplexing.

Those who have read  Daphne du Maurier’s Jamaica Inn (recently dramatized on British TV) will find echoes in the earliest painting in the book, George Morland’s The Wreckers, which exactly reflects Du Maurier’s gruesome narrative. The fragility of our equilibrium with the sea, its tumults and calms, its mood swings, is a common thread through both art works and essays. Verbal language varies from scientific to poetic; visual language ranges across media and through representation to abstraction. Pragmatism is also conveyed, from the physical challenges of the sea for the artist, to the mathematical measuring of a wave.

Simon Read’s involvement with the politics of his domestic geography, on the Deben estuary in Suffolk, is profound. He makes large maps of the saltmarshes around Falkenham (not Fakenham, as misprinted in the catalogue), incorporating historical features and technologies, ecological predictions and solutions. The saltmarshes form a dermis between sea and river – what he calls the ‘ooze’. His conviction of the care and vigilance required to live well in the fluvial borderland bleeds through his essay, even though, like his annotated maps, he uses esoteric terminology that can makes the viewer/reader feel decidedly ‘landlubbed’.

The difference between looking at the sea, and being in it, is beautifully explored. With some images we are distinctly on shore, no matter how close the sea may be: Henry Moore’s Winter Gale in the Channel, or Sydney Mortimer Laurence’s huge, expressionist Waves Breaking on a Shore, Sunset. In others, we are on and in the sea: John Brett’s keening swell of Christmas Morning, 1866, and Janette Kerr’s astonishing I Hold My Breath.

For me, Kerr’s essay is the best thing in the book. It’s a wonderful exploration of what it means to experience and to paint the sea in a technological and scientific age; to know its history, sensation and philosophy, and make deep enquiry of its meaning, phenomenological and experiential. Indeed, the essay bears out her notion of art as ‘a resonance between an internalized world and an external one’, with reference to Peter Lanyon, whose fascination with the nature and variance of the sea’s energy led him to lie down with it, above it, look into it, and then try to make paintings in which he was embedded as an artist, but without narcissism. Kerr is also vivid in her conviction that our love and dread of the sea are powerful because we come from it, hefted ourselves out of it and onto dry land during evolution. ‘Each of us has in our veins a salty stream in which the elements sodium, potassium and calcium are combined in almost the same proportions as sea water. This is our inheritance.’

Entering and leaving the sea is for most of us the experience that leaves the greatest impression. Owain Jones overturns the idea of the sea as a void between landmasses, representing it instead as a place, one of constant change and, at times, unknowable geography. Kerr illustrates this too, with a series of photographs of an island emerging from the sea in the aftermath of a marine eruption. Yet the idea of the sea as a place of reconciliation of dichotomies, in human nature and experience, is endlessly fascinating. I’m reminded of Emily Dickinson’s small, beautiful poem:

Exultation is the going
Of an inland soul to sea, –
Past the houses, past the headlands
Into deep eternity!

Bred as we,among the mountains,
Can the sailor understand
The divine intoxication
Of the first league out from land?

The Power of the Sea. Making Waves in British Art 1790–2014  edited  by Janette Kerr and Christiana Payne is published by Sansom & Co., 2014. 160 pp, 60 colour  & 15 mono illus. ISBN 978–1–908326–57–7

Credits

Author:

Lindsey Shaw-Miller

Location:

Cambridge

Role:

Writer

Shock and Awe: Contemporary Artists at War and Peace 19 July – 17 September

The RWA is about to open its most controversial and compelling exhibition to date; an installation of works by contemporary artists recently exposed to the front-line of war in Iraq, Afghanistan and the Balkans.

The exhibition is part of the Bristol 2014 Project, an extensive programme of events marking the centenary of the start of the First World War and also looking at other conflicts that have had an impact on Bristol over the last century.

Each participating artist has created their own powerful response to conflict, building on personal and collective memories, whether by examining acts of remembrance, the notion of art as a warning or as a form of protest. In the run up to the opening of the exhibition the RWA in conjunction with the Bristol 2014 project looks at what inspires  the artists, their ways of working and how they have coped in highly demanding, often very stressful conditions.

David Cotterrell is an installation artist who has used different media and technologies to explore the social and political tendencies of a world at once shared and divided.

His works Sightlines Series and Gateway Series records the arduous work of the British Medical Corps.

In November 2007 David Cotterrell was granted unprecedented, uncensored access to observe the work of the Joint Forces Medical Group, in Afghanistan.  Working as part of a commission by the Wellcome Trust for an exhibition on war and conflict, David, photographed the life-saving operations which take place in the 201 Field Hospital at Camp Bastion military base in Helmand Province.  These images are documented in the Sightlines Series.  In contrast, the Gateway Series portrays the air evacuation of soldiers with life-changing injuries to Selly Oak hospital in Birmingham, for continuing treatment.

David spent a year reflecting on his experiences and the photographs he had produced during the course of his research. With the MoD’s permission, he traced the casualties, and doctors, featured and asked whether they wanted the images to be destroyed after the exhibition but many felt that there was a continuing role for the photographs. When the photographs were first shown in public, they generated debate about the human cost of war, by portraying the physical effect of warfare on the individual.

David was acutely aware of his role as an observer and has spoken of his approach: ‘I chose to deliberately make work, which failed to satisfy the desire for drama […] the frozen, interminable, the night-time evacuation flights, and the uncertain waiting for casualties…’

 

Jill Gibbon’s work breaks from the tradition of depicting war zones to commission and instead centres on producing drawings, uninvited and undercover, inside Arms Fairs around the world.

 

Mercenaries, Jill Gibbon, 2013, inkjet printing

Having spent time sketching anti-war protests outside of Arms Fairs, Jill became intrigued as to what was happening inside and began to gain access to the secretive events, through a number of different guises.  Her biggest challenge was how to convey, the shock of what she witnessed. It is a surreal environment where snacks are consumed, alcohol flows and military equipment is displayed as a gleaming commodity. Jill describes her work as ‘deliberately playing with traditions of war art and reportage’

Using small A6 concertina sketchbooks and an ordinary pen, Jill is able to draw discreetly, as though she was merely taking notes. These clandestine sketchbooks document nearly 7 years from 2007-14; and have a sense of immediacy which appears through a mis-drawn line, a smudge, or a drop of coffee.

Jill’s flat colour poster-style prints enlarged drawings from the sketchbooks reflect the brash advertising of Arms Fairs.  For the first time, objects which Jill has collected from Arms Fairs will be displayed alongside her sketches and poster prints.

 

Tim Shaw is a sculptor who works in various media and different scales. His work is political as well as metaphorical and metaphysical.

 

Casting a Dark Democracy, Tim Shaw RA, 2008, steel, black polythene, oil and sand

 ‘Casting a Dark Democracy’ by Tim Shaw demands the viewers’ attention.  The imposing seventeen foot high sculpture is constructed of industrial materials: steel, barbed wire, black polythene and electrical cabling. The piece was created in response to the media representation of the Iraq war and public sense of outrage at the United Kingdom government’s decision to join the invasion Iraq in 2003. In particular the shocking photograph exposing the treatment of a hooded prisoner in Abu Ghraib prison in Iraq shaped Tim’s work.  The image was one of a series of photographs exposing United States troops’ abuse of Iraqi prisoners which hit the headlines in the British Press in April 2004.  For Tim, the photograph evoked a strong reaction, similar feelings to those he had experienced when living in Belfast during the Troubles in Northern Ireland.

Tim describes the work as ‘barbaric and medieval in appearance.  Its presence is menacing.’ Historical and more modern references are drawn upon, from the stance of ancient Greek bronze statues, Spanish painter Goya’s Peninsular War works, to the hood worn by the Ku Klux Klan.  In contrast, the figure has ‘a Christ-like compassion and vulnerability.’ Ten years after the photograph which inspired ‘Casting a Dark Democracy’ was taken, Tim believes ‘…the image remains potent, as something that trawls just beneath the surface of the collective consciousness’.

 

Challenging and thought provoking this exhibition is unlike any others seen at the RWA.

The Power of the Tides, Boat Building Project

In partnership with the Bristol based Heritage Education providers, My Future My Choice a new display of hand crafted boats made by Bristol school children was launched at the RWA on 18 June as part of the Learning Ships; Building Boats Project.

  

The project sees secondary school children working together to build 30 miniature ships. It co-incides with the current The Power of the Sea exhibition, which the students drew inspiration from during the first stages of the project.

The boats will be launched into Bristol’s Harbourside as part of a special event on 5th July.

The project uses the floating harbour and tidal regions of the Avon and Severn Estuary to deliver a unique art, design and technology activity, that will include a series of learning sessions to engage students in Bristol’s maritime history, as well as activities designed to equip students with the skills needed to build their one meter long vessels.

The project is funded by the Heritage Lottery Fund and underlines the RWA’s commitment to engaging the local community in the visual arts, inspiring creativity and developing their knowledge of the local environment.

Meet the Newly Elected Academicians – Debbie Locke

The RWA is one of five Royal Academies of Great Britain and Ireland and has a maximum membership of 150 Academicians elected by their peers. Earlier this year 6 artists were elected as Royal West of England Academicians, This week we look at the work and inspiration of Debbie Locke:

Debbie Locke RWA

‘Retracing Your Steps – Bristol’, 2013, Kinetic drawing installation , 1.5m wide x 2m high

Debbie Locke was born in London, studied at Wimbledon College of Art and now lives and works in Gloucestershire.  Her practice is predominantly drawing based and she often creates kinetic drawing machines to explore the process of ‘mapping’.  She’s particularly interested in what transpires when something as clinical and exact as measurement, is exposed to chance and random interference.  She exhibits widely in shows across the UK, is represented by One Church Street Gallery and is an Artist Member of Kinetica Museum in London.

 

Debbie Locke. Farmer cam in Barn 0300-0400

Alongside her own individual practice, she works in collaboration with artist Sara Dudman and a farm in the Blackdown Hills in Somerset, attempting to capture the fascinating working relationship between the farmer, his sheep and his dogs.  The resultant paintings are regularly exhibited and were prizewinners at the Millfield Summer Show 2013 and the John Singer Sargent Prize 2014.

Atlantic Swimmer visits The Power of the Sea

Yesterday the RWA had a really exciting visitor, Ben Hooper, who is attempting to swim from Africa to Brazil; the great Atlantic Ocean.

Ben Hooper (Atlantic Swimmer) and Mel Cross (Artist)

Ben is the first person to endeavour swimming at such extreme lengths using freestyle swimming.
He has already swam around the Mediterranean and this time he wants to really push his limits and challenge his abilities to a more treacherous route.
Ben will swim up to a total of 12 hours per day. His epic swim will take him over 30-foot surges, passing through shark inhabited regions, and without doubt, he will encounter jelly fish, flying fish and a harsh Equatorial sun. The swim will be filmed by a Hollywood crew and edited into a video diary.
http://www.swimthebigblue.com/the-swim

Ben is interested in the artistic input in his project and visited The Power of the Sea for inspiration. He will be accompanied by artist Mel Cross who will be documenting the impact the swim will have on Ben, through her work. Mel’s work captures ‘essence’. “I don’t try to illustrate the physical nature of form – we can experience this via our senses. I try to capture the essential nature of form. The inter-dimensional resonance – the imprint the physical makes in the Universe.”

Standing before Janette Kerr’s giant and impressive ‘Holding My Breath II’ Ben exclaimed, this is what my head feels like right now, after my morning training.

Ben described ‘Holding my Breath II’ as similar to how it feels inside his head.

Ben said of Andrew Friend’s work ‘Device for Disappearing (at sea)’

“The first moment I spied this, I immediately felt a little overwhelmed, for it represents the calm inside of me yet highlights the incredible distance I will swim through the flat Doldrums, of Mid-The Atlantic Ocean. As somebody who has a little experience of free-diving, it reminded me of the platform/flotilla from which we dive, and the tranquility you enter, leaving the world above you, behind. An amazing piece of work which is beautiful, yet a little unsettling at the same time.”

The video installation ‘Ama’ in the Milner gallery by Rona Lee really struck a chord with Ben.

“This has to be one of the most incredible, powerful, works of art I have seen. The piece moved me, frightened me, enticed me further into the ocean and somehow, the philosophers words uttered by her blind-actress, penetrated the depths of my soul. The script is beautiful, it appeared to hit every message of my expedition at a personal and professional level. It highlights the utter beauty of our oceans, the fear, our dependence on their existence and cleanliness and more importantly, the good and bad in human’s becoming one with such power and beauty.”

 

 

Meet the Newly Elected Academicians

The RWA is one of five Royal Academies of Great Britain and Ireland and has a maximum membership of 150 Academicians elected by their peers. Earlier this year 6 artists were elected as Royal West of England Academicians, but what does it mean to have RWA after your name and how do you get selected? Artist Stephen Jacobson  Vice President for the RWA explains: “The prospective Academicians work is initially viewed by a selection panel of existing Academicians who decide if it meets a high enough standard for the the whole body of Academicians to vote on. The artists who are selected from this initial selection then get to have their work displayed. During this round of selection there were 11 applicants whose work was displayed downstairs in The Cube gallery during the course of the 161st Annual Open Exhibition which ran from November – January. The works were then voted for by the entire body of Academicians who chose the following five artists to become Academicians of the Royal West of England Academy. For me becoming an Academician obviously carried a certain kudos, and recognition by my peers. But, as painting is a solitary business, it is good to know one can meet regularly with like-minded people and not feel isolated. This is particularly significant for me, as I did not go onto have a career in Academia after leaving art school and so missed the stimulation of working and talking with other artists.  The opportunity to show work regularly at the RWA Autumn Exhibition is another advantage, along with the potential to exhibit in a range of individual shows.  I have also found it useful to get involved with the hanging of exhibitions and to try to understand what other artists are up to” Newly Elected Members

Artist Profile Andrew Munoz:   Andrew Muñoz was born in London in 1967. He grew up around Essex and Cambridgeshire and moved to the West country in 1992 where he settled and had two children. He studied at Plymouth College of Art and Falmouth College of Art. His interest in making art began at an early age and was partly inspired by his Spanish heritage which led to an obsession with Catholic imagery and the Spanish Civil War. His work is now informed by social narratives and morality. He currently lives and works in Bristol. He shows with Andipa Contemporary, London, and the British Contemporary Painters group, and exhibits regularly nationally and internationally.

The Royal West of England Academy’s 162nd Annual Open Exhibition

Submissions open for the South West’s largest open exhibition; The Royal West of England Academy’s 162^nd Annual Open Exhibition.

Artists from all over the country are invited to submit their work, for consideration for the South West’s largest Annual Open Exhibition, which opens on the 12^th October at the Royal West of England Academy.

A selection of works from the hugely successful 161 Annual Exhibition which saw over 2200 pieces of work submitted

Following the runaway success of last year’s open exhibition, we are pleased to announce that this year’s submissions are now open.

The exhibition now in its 162^nd year attracts submissions from local, national and international artists alike, including entries from Academician’s such as last year’s Threadneedle Prize winner Lisa Wright RWA, Richard Long RWA and Anthony Whishaw RWA. Alongside these established artists you can also see entries from art’s rising stars, which last year included the Independent’s 2007 one to watch Aisling Hedgecock. We also welcome entries from students and emerging artists encouraging artists of all ages to apply.

Artists are encouraged to submit a maximum of 3 recent works, via a dedicated website and the first round of selection takes place online with a final results day at the Academy in September.

Last year the exhibition had over 15,000 visitors to the exhibition, where all the work is for sale with prices starting from just £25 providing the perfect opportunity for arts enthusiasts and collectors to discover the stars of the future.

This year’s selection panel includes RWA Academicians Janette Kerr PRWA, Stephen Jacobson RWA, Jason Lane RWA and James Beale RWA with three special guest selectors to be announced shortly.

 We are pleased to announce that this year’s prizes include:

The Affordable Art Fair You Choose Award

£800 awarded to the public’s choice – vote for your favourite artwork

Evolver Wessex Cover Artist Award

Front cover of Evolver magazine’s Jan-Feb 2015 issue

Evolver Wessex Artist Award

Feature article in Evolver magazine’s Jan-Feb 2015 issue

Consumer Intelligence Watercolour First Prize £250 cash

Consumer Intelligence Watercolour Second Prize £150 cash

Redcliffe Press Photography Award

Selection of six art books published by Sansom & Co / Redcliffe Press from their recent catalogue.

St Cuthberts Mill Work on Paper Award

20 sheets of Saunders Waterford 300gsm worth £75

New Creations Coaching Emerging Artist Award

£240 worth of creative consulting with New Creations Coaching

We would like to take the opportunity to thank all our supporters including our prize givers.

Key submission info:

162 Annual Open Exhibition

• Submissions open 2 June and close on 27 August 2014
• All submissions must be made online at www.oss-rwa.org.uk
• Painting, photography, sculpture, drawing, printmaking, sculpture, architecture and moving image submissions are all welcome
• Artists are encouraged to submit recent work (produced within the last 3 years)
• All works must be for sale with prices predominantly under £10,000
• A maximum of 3 works may be submitted per applicant
• Work cannot have been exhibited before at the RWA

For more images of last year’s exhibition please visit our Flickr site www.flickr.com/photos/rwapress/sets / 0117 973 5129 / www.rwa.org.uk

New Exhibition ‘Ports, Piers and Promenades,’ opens at the RWA

The RWA are delighted to announce the opening of the new exhibition ‘Ports Piers and Promenades‘, curated in response to the current Power of the Sea Exhibition, by University of Bristol Art History Students.

The launch which took place at the RWA’s Queens Road location on the 28 May was very well attended by students and professionals alike.    

Ports, Piers and Promenades captures the sea and the English coastline as a place of both work and leisure.  The artworks showcased in this exhibition have been drawn from the Royal West of England Academy’s permanent collection providing an exciting opportunity to delve amongst the treasures of this rich resource.

 The exhibition includes work by a number of RWA Academicians including Danny Markey, Dawn Sidoli and Rodney Joseph Burn. It portrays the English coastline, and in particular the South West, taking in local scenes such as Lord Methuen’s Severn Beach in the 1930s, as well as artworks from further afield including David Inshaw’s work Timetable (24b).

The students have captured the shore is an in-between place, marking the transition from land to sea. The sea is framed as a cultural, social and commercial body, with selected artworks tracing the many ways in which man has interacted with the sea, from busy working ports to depictions of idyllic beach holidays.

Ports, piers and promenades reveals how man has made his mark on the coastline, building a life around the sea incorporating both work and leisure pursuits. In many of the paintings displayed the themes of work and leisure appear simultaneously. For example the seaside resort, as depicted in Peter Folke’s RWA Wet Day at Swanage provides both jobs and a holiday destination, whilst coastal artists’ colonies such as St Ives provide artists with both a retreat from busy city life and an intensive work environment.

The exhibition has been curated by Minami Fuse, Joss Johnson, Tony Marwick, Yasmin Namdjou and Samantha Wiltshire from the History of Art Department at the University of Bristol. It has been devised in response to The Power of the Sea which runs from the 5th April to the 6th July 2014 see www.rwa.org.uk/whats-on/exhibitions/2014/05/the-power-of-the-sea

The exhibition is located on the lower ground floor and is free for everyone to enjoy, donations are appreciated. All donations will go to the RNLI. For more information about the RNLI please visit www.rnli.org.