AAS magazine 2014 by Catharine Moss

Committee 2014 President Major General Sir Sebastian Roberts KCVO OBE

Chairman Colonel R H W Bodington LVO MBE COS, Headquarters London District, Horse Guards, Whitehall, London SW1A 2AX T: 0207 414 2332 E: LONDIST-COS@mod.uk

Vice-Chairman James Thompson Tresillian, 5 The Croft, Bishopstone, Salisbury, Wilts SP5 4DF T: 01722 780683 E: annjames.thompson@btinternet.com

Secretary & Exhibition Coordinator Roger Dennis Fir Tree Cottage, The Bartletts, Shaftesbury Road, Mere, Wilts BA12 6BN T: 01747 860138 E: r.b.dennis@btinternet.com

Treasurer & Membership Secretary Mike Walker 4 The Croft, Bishopstone, Salisbury, Wilts SP5 4DF T: 01722 780424 E: walker.m.retired@googlemail.com

Projects Coordinator Colonel JC Rhodes T: 07598 018297

E: jason.rhodes401@mod.uk

Publicity Secretary Iain Park-Weir Tibbetts, Cholderton, Salisbury, Wilts SP4 0DW T: 01980 629737 E: iain@pvpw.fsnet.co.uk

Serving Member Sergeant Richard Salter R SIGNALS

Website Manager Nick Hendry E: nickhendry@msn.com

Magazine Editor James Thompson

www.armyartssociety.org AAS Magazine Designer - catharine.moss@ethosvo.org 2

The Army Arts Society An Army Art Society was founded in or about 1980 in Lisburn, Northern Ireland, during the excesses of Op Banner. It took inspiration from the Armed Forces Art Society, founded much earlier, and already holding regular exhibitions in London. After 1982, and the Falklands War, Linda Kitson gave the AAS huge encouragement and endowed a prize. Since then, the AAS has developed its own identity and instituted many more competition prizes. Having obtained additional sponsorship from defence contractors and from the MOD we have come a long way since our start. The Society exists to encourage and support artists and crafts-people both serving and retired, fit and recovering, and families. We seek to display works produced, and to encourage active participation by serving personnel with the provision of special prizes at the Exhibition. The key event, the Annual Exhibition in November encourages the display of work from operational and training tours, whether Afghanistan or Europe, overseas or the UK. The Society is ardent in its support for the projects to expand the role of ‘art’ in all branches of the military family: → → →

Mentoring of art classes and workshops in recovery centres Encouraging entries to the Serving Artist of the Year Competition Provision of art packs for troops world-wide on operations, training, or at home.

Membership of the Society is open to all members of the Army, Regular and Reserve, male and female and retired and families. There are special membership advantages for serving personnel and those below the age of 22 years in full time education. We look for more members all the time ... please encourage your friends to paint and to join!

↑ The Prized Cockerel - Tana Knyvett

↓ Monica's Dressing Table - James Morley

Contents Committee

The Army Arts Society – Introduction

Contents

Editorial

James Thompson

The Chairman’s Report

Hugh Bodington

Membership Secretary Report

Roger Dennis

Birth of an Artist

Aus n Thorp

A Stained Glass Story - Warminster

Charles Lane

Operational Art Packs with 1 Mechanised Brigade

Alan Crosby

Pienture en Plein Air

Candide Turner Bridger

HERRICK 19 - Art Packs with Desert Rats

Wendy Faux

Treasurer’s Report - December 2013

Roger Denis

Artist, Wife, Mother in Germany

Wendy Faux

My Beautiful Love

A poem by Elizabeth Kendall

The Operational Art Pack Project

Francesca Bex

Digital Images for Publication

Roger Denis

Thanks

A poem by Prue Swindells

Exhibition Report for 2013

James Thompson

Artpiffle

Tim King

Steel Jerboa - A Ratty Tale

Wendy Faux

Art at Tedworth House and Roche Court

Jenny Arthy & Francesca Bex

Exhibition 2014 - Instructions for Entrants

Roger Denis (Co‐ordinator)

Form for Application for Membership

Society Notices

39 Detonator Safety - Karl Nash graphite pencil

Editorial James Thompson Thank you to all the reporters and contributors for your superb efforts, and for getting your items to me on time! Thanks also for all the superb and exciting images you sent .. most of them are in the magazine. It has been a year of good and sad. The Exhibition in November was another great success, and the report carries the tenor of the occasion. However, this success was marred just after Christmas by the sad and untimely news of the death of General Sir John, our much esteemed and dearly missed President.

new exhibitions and other activities, and remember the AGM on 4th July at Middle Wallop. Enjoy the magazine now, and good luck with the brushes and paints this summer.

Motovun, Croatia - James Thompson

General Sir John Stibbon had been our President for nigh on 20 years. He attended all the AGMs and committee meetings, ready with his carefully folded sheet of A4 and a sharp pencil to take a very active part in our discussions. His advice was always timely, always accurate and always helpful. We will miss his large and generous presence. He was a most talented artist and an inspiring and enthusiastic teacher of the art of watercolour. His expertise with a brush and palette and a sky is legendary. General Sir John was the epitome of all that is the Society, and we thank him for all he did for us and for art in the Army. We have lost a good friend and companion and an inspiration to all. Our thoughts and prayers are with Lady Jean and with Jane and Emma in their terrible loss.

Quo Vadis - James Thompson

His memorial service at the Royal Memorial Chapel, Sandhurst in May was a great gathering to say farewell to a leader, a sportsman, an inspiring artist and a great man. You will find plenty to amuse, to educate and to inform in the magazine this year. Our Chairman, Colonel Hugh Bodington writes of the vision of the Society and more exhibitions. Roger Dennis gives full reports of the accounts and the membership statistics, and all seems to be in order! Austin Thorp, Tim King and Charles Lane will amuse and entertain you, while Alan Crosby tells of the art packs in Afghanistan with 1 Mech Bde, with never ending support from Francesca Bex. Candide Turner Bridger tells us about ‘en plein aire’ painting, while Roger Dennis puts you right on colour printing! Jenny Arthy enthuses from Tedworth House and we have two lovely poems to calm the nerves. New pieces come from Wendy Faux at 7 Armd Bde after their successful tour in Afghanistan, and a report from the families back home in Hohne. Her Ratty Tale will amuse anyone who has worn the jerboa! Quite a variety, with something for everyone.

Caerfilly Castle, Wales - James Thompson

‘Society Notices’ gives some information about forthcoming activities, and the instructions for the Exhibition are included at the end of the magazine. We are still looking for an Exhibitions Secretary and a new Editor. Details of both posts can be obtained from the Secretary. Remember to look at the website for details of 5

↓ Raining Memories - Richard Salter, acrylic on panel

Steam Engine - Tedworth House Art Room

6 ↑ The Royal Yeomanry - Alix Baker

↓ Atacama Desert, Chile - Iain Park-Weir

Ivan Parwadow POW in WW2 at Fallingbostel - Wendy Faux

↑ A Long Way from Home - Eve Montgomerie, The Popular Vote 2013

Chairman’s Report Hugh Bodington First of all, may I express our deep sympathy to Jean Stibbon on the sudden death of General Sir John who had been our President for many years. His experience, knowledge and talent will be particularly missed. He was planning to hand over the Presidency this winter - but clearly not in this fashion. We are therefore very grateful to Major General Sir Sebastian Roberts for agreeing, at short notice, to accept the Presidency. General Sebastian, as some of you will know, also possesses a prodigious talent, with his work permanently on display in Windsor Castle - and I know he will be an enormous asset to the Society.

Notably, we have secured space in St Margaret’s Westminster for an exhibition during the Field of Remembrance in November, which should enhance the position of the Society with all visitors to the grounds of Westminster Abbey during that time. With a First World War theme, there will of course be prizes for selected entries.

My sincere admiration goes to all members of the Society on their eclectic contributions that combined to make such an impressive exhibition last November in Salisbury. You filled the walls, increased your sales on last year and there was a full and happy gathering at the private view reception. We welcomed Ken Howard as our judge, who you will recall gave an amusing and honest appraisal of the comparative investment value of art and motor cars.

Library Steps - James Morley, cherry and ebony strip

May I wish you all a superb summer with your pencils and brushes and I look forward to seeing you and your creations in London and Salisbury this November.

Thank you to our sponsors, Chemring, Aspire and Daler Rowney for enabling all this to happen and support us as we work to realise our vision for 2014 and beyond. This year we particularly welcome the assistance of NADFAS with their links to 300 branches. We are delighted to hear of the success of the art packs with both 1 Mech and 7 Armd Brigades. So what is this Vision for 2014? The key proposals are to: →

Increase the appeal to the whole military family across the United Kingdom: specifically aiming prizes at entries from: Veterans, Serving Soldiers, the Wounded Injured & Sick, Families and Cadets.

→

Garner support from like-minded institutions, associations and organisations to enhance our network and sustain our vision.

→

Build on the success of the ‘Operational Art Packs’: Enable more serving soldiers to participate through the provision of Art Packs to all Brigades.

→

Identify further opportunities to mount exhibitions over the next 5 years and plan for them.

In order to connect the Army to our nation through our most talented and powerful artistic expressions, to develop our skills and to provide therapeutic support to those in need.

Membership Secretary Report Roger Dennis

Salisbury Cathedral in Winter - Roger Dennis The Membership Secretary, Roger Dennis, carried out a detailed cross-check of all names on the Master Membership List for 2013, to ensure that all active members are paying the current, appropriate membership fees. As a result, a number have confirmed that they no longer wish to remain members of the Society. Those who were still paying the old rate, and wish to remain with the Society have revised their contributions.

The Society continues to receive a great many 'donations' of £5 from old members who are no longer active and have not cancelled their standing orders. Income from this source amounted to £375 during 2013.

We currently have 143 members on the Master Membership list, of which 119 are full-fee paying members. The remainder is either honorary members, or serving soldiers.

All members are encouraged to promote the Society in any way possible. Social media sites such as Facebook and Twitter can be particularly effective.

We continue to publicise the Society, and the recent article in Soldier Magazine resulted in a number of applications for membership from serving personnel.

General Sir John Stibbon KCB OBE – An Appreciation The sad and untimely death of our President, General Sir John (SJS) in January, surprised us all. An active member of the AAS, President for about 20 years, a regular exhibitor who participated enthusiastically in all Committee meetings, he also managed to obtain sponsorship from the Chemring Group. Attending all meetings with his carefully folded sheet of A4 and a sharp pencil, his sound advice was never ignored; he gave much support during our recent ‘doldrums’ period. 8

When Committee members were hard to find, SJS was always ready to help and support. He was a superb artist, a kind teacher, whose works grace many homes all over the world. We have lost a leader and adviser of great worth, and offer deep sympathy to Jean and the family. His memorial service at Sandhurst was well attended by so many from all walks of life; testimony to his influence. He is sorely missed by us all. (Ed)

Birth of an Artist Austin Thorp Mr Barton gave me an enduring love affair with pictures, galleries and museums. But between leaving school in 1963 and 1984 that was as far as it went, other than the occasional doodle or a sketch on the back of a signal pad when my CO was droning on about matters of little interest. In 1984 I was posted to the Falkland Islands. Like everyone else there I had several jobs: Supervising the clearance of the debris of the war; recovering and reconditioning unused stores; exploring ways of lifting Argentinean minefields; restoring and maintaining essential services; and liaising with the contractors building the new port and airfield. Just before I left for my flight my sister came round. She: “ What are you going to do in your spare time?” Me: “ I don’t envisage having much; everyone seems to work a 7 day week at the moment”. She: “ Well, just in case, I’ve brought you some pencils, pastels, a small watercolour box a few brushes and some paper. You ought to start drawing and painting again and there will be lots of interesting subjects”. I hadn’t been in the FI long before the Commander called me in and said “We need to improve our relations with the locals. With what all your chaps do across the islands you are the obvious choice for the new post of my Community Relations Officer. You’ll be responsible directly to me. Write a job description and let me have it for approval this afternoon”. My first reaction was “No! Not another hat to wear! I’m never going to get to use those paints!”

But on second thoughts I suddenly saw the upside. This was at a time when helicopters were becoming fewer and flying hours were being tightly controlled. The only alternative way of getting around was very slowly and uncomfortably: 4-wheel drive on terrible tracks with the ever present risk of being bogged in; or to walk from the nearest track to one’s destination. So in the job description I wrote the following: “The Community Relations Officer is to visit every community in the Islands at least once during his tour of duty. He is to have priority call on non operational helicopter flying hours. Authorised civilian officials may accompany him where necessary“. Choosing a moment when the Commander was busy and preoccupied, I slid my directive in front of him and said “Your directive to me, your new CRO, Sir”. He skimmed it and signed it. I left his office treading on air. Suddenly I could go anywhere in the Islands at any time and I could go by helicopter. I didn’t realise it at the time, but with that signature I became a nascent artist. Early on I met two people in the Falklands, both ardent conservationists. One was a very talented wildlife artist and the other had a small shop in Port Stanley. They were very keen to get out to an Island renowned for its wildlife, to check on what was happening there, something they had not been able to do since the end of the war. This seemed to fit perfectly with my brief as Conservation Officer. So one morning, wearing survival

Oystercatchers at Mont St Michel - Austin Thorp

Birth of an Artist cont…. suits (though quite who was going to rescue us if we ditched in the South Atlantic wasn’t very clear) and carrying our bergens complete with survival packs, cameras, sketch pads and pencils we flew out of Stanley. Not long after, we dropped near a ruined farmhouse on the island, our home for the next 48 hours. Whilst my two companions set off to do their surveys I was left to my own devices. They had suggested that the best place to start was just over the hill behind the old farm where I would find “a few penguins and some albatross nesting”. As I approached the top of the rise I became aware of an increasingly loud chattering and squawking. Then an incredible sight - thousands and thousands of penguins brawling amongst themselves like rowdy primary school children interspersed with regally detached albatrosses sitting on their raised, chimney-pot like nests. I dropped into the grass and continued my approach on hands and knees, taking photographs with my telephoto lens, terrified that the whole lot would vanish into the sea if I disturbed them. An hour later I was wandering round and sitting down among them having discovered, to my surprise, that they were completely unafraid of me. There are not many things one has never seen at breakfast, yet seen in their tens of thousands by lunchtime! And there are not many times in one’s life when one has been so close to wild creatures that one could reach out and touch them if one wanted too. I soon discovered that if you get too close to an albatross it spits at you – a short stream of oily liquid that has the most disgusting, indescribable smell.

The next day, as we sat waiting for our return helicopter, Ian said to me “You know, I think I could sell one or two of your drawings in my shop”. I laughed. “Bet you a bottle of champagne no one would buy one” I said. “You’re on” he said. So he selected a couple of drawings and suggested I sign them. At lunchtime the following day I couldn’t resist – vanity! vanity! - a walk past Ian’s shop. There they were – two pencil drawings in clip frames - in the window! But I still didn’t think anyone would buy them. A week later they were still there and depression was displacing secret hope. About two weeks after my drawings appeared in Ian’s shop window, we met in the street. “I’ve sold one of your drawings” he shouted triumphantly. “Great” I replied “I’ll be down with a bottle tonight!” At this point I need to explain that everything in the Falklands came down on the air bridge or by ship; even the basics were expensive so even the cheapest bottle of Champagne was about three times the UK price. Ian let me into his shop and we sat at the counter. I opened the bottle and filled the two glasses he provided. We toasted my talent and his acumen at spotting it. Then he toasted the next sale and I toasted his continuing good health and so on until the bottle was empty! ….. (to be continued)

Winter Evening over Cockney Down - Austin Thorp Photography Prize 2013 10

A Stained Glass Story Charles Lane A Church exempt from diocesan jurisdiction is often called a ‘Peculiar’; so it is with the Chapel of St Lawrence in Warminster, Wiltshire. The Chapel is administered in all respects by twelve “of the principal honest and discrete” people of the town, known as ‘feoffees’. St Lawrence stands in the High Street, close to the Market Place. It came into the possession of townspeople in the 16th Century, and has always been well used since the main parish church, the Minster, is on the edge of Warminster, some half a mile from its centre. Last year the feoffees set about improving the interior of the chapel by building a fine oak screen masking a small kitchen area and the entrance to a lavatory. Additionally, they organised a local competition for the design of a double-lancet stained glass window to replace a plain window blown out by a stray bomb in 1945!

I was fortunate to win this competition and a steep learning curve in the art of stained glass began in May 2013. The feoffees commissioned Salisbury Cathedral Stained Glass workshops to make the window. My A3 sketch was expanded by Victoria Burton to fit the 8ft. high window. When the full scale drawings came back to Warminster for approval, there was now a large embarrassment: we did not like them! While the scale and proportions were excellent, there was too much detail, incorrect perspective and, in some parts a very different interpretation of the sketches. Having discussed this at Salisbury and apologised to Vicki Burton, wall lining paper was unrolled on the dining room table and I set to work with B6 pencils, erasers and felt pens. I could not have succeeded without the underlying proportions provided by Vicki. I also had the advantage of being able to visit the Chapel as often as I needed to examine the detail of the unusual buttresses and the rectangular tower. Appropriate clothing for St Lawrence was also a problem, resolved by an email to the Abbot of Ampleforth who advised how he might have been dressed in Rome in the 4th century AD!

The next step was for the lead lines to be indicated and the strips shaped and made at the cathedral workshops. This was done quickly, and the horizontal strengthening bars were replaced by thickening some of the lead strips in the foreground and landscape. Drawing my own hands, I thought I had them in the right proportion for St Lawrence, but once outlined with lead, they appeared too large and also the Saint’s head looks a little small. The coloured glass was chosen, acquired, cut into the leaded shapes, shaded by Vicki and fired before all the pieces were painstakingly fitted together. The windows were erected in the Chapel’s south wall lancets in early January this year and dedicated by the Bishop of Ramsbury. It was a surprisingly short six months after the competition took place.What fun it was, and a privilege to be able to design this window. Should anyone be given a similar opportunity, they should leap at it.

1 Warminster St Lawrence – the final window 2 Detail of tower and bell 3 Vicki Burton at the Salisbury Cathedral glaziers workshop 11

Operational Art Pack Project, 1 Mech Bde Alan Crosby The Operational Art Pack Project is a valuable tool for commanders in the field that is well worth the time and effort of the Army Art Society. Having made such an unequivocal statement, let me take you on a journey which will surprise and amaze you. This is a tale of how, having provided the right start in life, something can grow and blossom. The Operational Art Pack project was the brain child of Polly Gedney, when Chairman of the Army Arts Society. The first packs were sent out to Afghanistan in 2011 followed by more in 2012 and 2013 and again in spring 2014. The packs consist of a bag with a compact water colour set, sketchbooks, pencils, brushes, artistic accoutrements (a colour wheel and small sponge) and an art tutorial book by Alwyn Crawshaw, entitled Sketching (Collins 30-Minute Painting) donated by Harper Collins. There are a lot of soldiers who sketch and paint and there is a growing awareness of the therapeutic benefits of art to soldiers and civilians alike! The art packs have been sponsored by the generosity of Wiltshire Council and Tidworth Council, with supplies by Daler Rowney..

good. She volunteered to coordinate the project for the Regt. Another young soldier painstakingly manipulated photographs, pixel by pixel, to look like paintings. Yet another had been secretly painting and sketching, and showed his work to the QM, who contacted me. With more encouragement, he revealed his work in front of his chums. Many were aghast at the quality and drama in the works, and yet another came forward to reveal his own sketches and paintings. He imagined his work was nowhere near as good, but, of course it was also excellent. The role of the Army Art Society and the Op Art Packs is acknowledged by the Bde Comd in the post-tour book; 'Reflections - Soldiers Art in Helmand'. This coffee-table book contains a range of work from professional war artists, photography, poetry and soldiers art. The AAS provided the art packs and the Bde engaged with and exploited the project. The result was the wide range of art produced and included in 'Reflections'. What is not known is how much other art work was produced and what soldiers did with it. This is likely to be a rich seam to explore further.

The examples of soldiers work in the book are limited, and my experience suggests that this will remain so in the future. Soldiers are wary, even secretive about doing art, more so when deployed on operations. Regimental museums are full of memorabilia including sketches and paintings by Kit Issue - Richard Salter, oil on panel ordinary soldiers, and their value is in the context in which they are made. Who As a serving Army officer, I was luckily deployed to knows how much such art might turn up in the future Afghanistan too, but am the Op Art Packs LO! My luck from experiences in Afghanistan? There remains was in, and visiting Lashkar Gar and the Bde HQ was considerable potential to develop this project and to routine for me. I enjoyed meeting Brig Rupert Jones, bridge the chasm between actually doing the art and who showed great enthusiasm for the project, and even showing it to others. I believe the Op Art Pack journey is hoped to publish a coffee table book of his soldiersâ&#x20AC;&#x2122; art still in its infancy, and I look forward to the next phase of as a record of the tour. development taking account of the evolving World order. These are indeed a valuable addition to service life. As the Bde settled in to the harshness of operations in Afghanistan, information about how the art packs were 1 Mech Bde has a limited number of copies of being used was becoming available. One shy artist, a 'Reflections' available costing ÂŁ10 inclusive of P&P. To gunnery officer, produced a series of watercolour secure a copy contact Chief Clerk HQ 1 Mech Bde. sketches of life in Lashkar Gar as seen from sangars 01980 650044 or by email 1X-iHUB-ChClk@mod.uk. around the base. It took a fair amount of encouragement for her to acknowledge that her work was actually very In the autumn of 2012, 1 Mech Bde was at an advanced stage of its predeployment training, ready for Afghanistan April 2013. The Op Art Pack project was presented to the Chief of Staff who showed great interest, and a new batch of Art Packs was assembled, and deployed with them.

Nad Ali CP - Dan Peterson, Highly Commended Exhibition 2013

↑ Lost Moment - Richard Salter Aspire Defence ServingWar Artist Runner-up 2013

↑ Perfect - Paul Kennedy, VeteransWorkshop Prize 2013

CH53 Lashkar Gar - Alan Crosby → 13

Peinture en Plien Air Candide Turner Bridger From the French phrase meaning “In the open air”, it describes painting outdoors in natural light, as artists have been doing since history began. ‘En Plein Air’ became more popular during the Renaissance, as European art turned towards realism and perspective, and artists needed to study nature to gather information for the formal studio painting. From the Renaissance until the turn of the 18th century, the standard procedure for producing an oil painting was by layering glazes over a grisaille. In the mid-18th century John Constable brought about a seed change in art - he chose to paint the sensation, rather than the formal portrayal of nature. William Turner followed, embracing the brave new world of engineering, medical and literary advances. Though he filled his sketch books with ‘plein-air’ sketches and notes, he still painted his canvases in a studio. The invention of collapsible tubes of ready-made oil paint made it easier to paint with oils away from the studio. As ‘plein- air’ painting became more popular a

new “collapsible” box easel was developed to help with the portability of materials. But it was in France that the impressionists championed this genre of painting even giving it its name… “En Plein Air”, aspiring to capture a fleeting moment, or an impression, working directly onto a canvas. Art was now at the forefront of pioneering change. This allowed painters such as Claude Monet the freedom to experiment, and ‘plein-air’ paintings were now becoming acceptable as finished works! Modern ‘plein-air’ painters owe much to these artistic pioneers as we still use the techniques they developed. We might be tempted to take a photograph, because it is so much quicker and a lot less messy, but without sketches this is a retrograde step. The camera can lie! It records every little detail, but doesn’t leave scope for imagination and feelings. The amount of detail captured in a photograph can be a distraction from what you want your painting to be about. When you sketch a scene you are not only scrutinising it but committing to memory the details that interest you. You filter out superfluous information, because it’s not possible to include it all.

Oil on board 14

However, ‘plein-air’ painting is not an easy option; setting up your studio out of doors creates a raft of new problems! Location – sheltered or open – clothes – easel or lap – sit or stand – transport etc. My box easel contains: Oil paints, Venetian red, ultramarine blue, sap green, burnt umber, yellow ochre, titanium white and ivory black. Media include stand oil and turpentine in a pre-mixed ratio of 30:70, a pallet and brushes: 1” glazing, 8 and 2 filberts. While my sketching bag contains: Supports (primed MDF boards, with gesso and often extra chalk to help drying and texture),white spirit, extra stand oil and pencils, sketching items, rags, and rubbish bags. Trying to paint while exposed to the elements requires extra skill. Too much sun can make ‘plein air’ painting as uncomfortable as the cold. Back to the sun will cast dark shadows across your painting, and facing the sun means painting in shade and your scene is too bright to see. Sunglasses merely distort the colours. The weather will change the way your media work and feel. The wind and the sun make your media stickier and speed up the drying time, while the cold and damp will prolong drying times. To correct this inconsistency a small drop of stand oil will slow down drying or extra solvent help speed it up. It is hard to capture a constantly changing scene, as light, clouds, shadow, animals and people move in and out of view. A tip is to remember the first scene that caught your eye and stick to it. . Another consideration for your ‘plein air’ studio is how to transport your equipment. After a lovely day painting, there is the problem of safely carrying your delicate wet pictures back home. Drier paintings are easier to transport, and it helps not to lay on thick paint, or else consider painting with acrylics. A simple tip for stacking wet boards is to place a match stick between each corner of the boards, and tape them all together.

Oil on canvas

Watercolour and collage on paper

Earth pigment gresaille and scumble

Some renowned artists have incorporated transportation as part of the process. Joan Eardly, a Scottish artist painting in the 1950’s bypassed this problem, by leaving her canvas and paints in situ overnight. Kurt Jackson a current, perhaps ‘guerilla’ artist in ‘plein air’, spreads the whole canvas or paper on the ground, and working with gusto, uses whatever comes! Liz McGowen a Norfolk ‘plein air’ sculptor, creates sculptures out of the environment, takes photographs, and leaves her work in situ to decay, surprise and delight passers-by! Painting out of doors, away from the controlled environment of a studio, adds a certain freedom to your work. Painting in all weathers, being dazzled by the colours is so much more exciting than sitting in the studio. I feel the integrity of my work comes from the craft of painting and sketching En Plein Air in favourite places where I return regularly, noting the subtle seasonal changes, imagining each picture to be part of a slow playing film. Many of these sketches become studio paintings, and in exhibitions I present both Plein Air and studio painting together, as it is interesting to see where a painting has come from. If you sit still for long enough the world that most people miss comes to life. The benefits of raised awareness and the pleasure of appreciating the moment are all part of Plein Air Painting.

Candidie en plein aire!

HERRICK 19 - Art Packs with Desert Rats Wendy Faux As this magazine arrives, there are still soldiers deployed on Op HERRICK 19, which is proving for some to be a 9 month tour. The 50 AAS Operational Art Packs arrived from Francesca, and were soon sent to the soldiers of 7th (Armoured) Brigade. It is always interesting to see their response. At first there is the ‘really?’ response, where soldiers cannot believe that in this hostile environment there is a pack to encourage watercolour painting. But it only needs one to start and others will want to have a go. However, the influence of the art packs cannot be underestimated.

↑ Out on patrol - Cpl Ross Fernie, Army Photographer

Anna Redwood came with the Bde as War Artist and went with the art packs to mentor some of the soldiers, showing them that art comes in many forms, and does not necessarily have to be precise painting; it is about being expressive, creative and above all yourself. She took the creative process to the soldiers, and with the help of the metal smiths of 2 (Close Support) Bn REME, produced one of the most impressive and talked about pieces of art that has come out of Afghanistan - The Armoured Rat. The slow process of soldiers bringing their work forward will begin as they come back from Theatre. But it will not end there. Some of the packs were kept back in Germany to give those returning a chance to foster their creativity where they may feel more encouraged to progress their talent. Operational deployments also affect those who have been out before, but did not go this time, and the families left behind. Inspired by these op art packs, a very successful Red Rat Art Group has been set up in Fallingbostel by the wives and families, and as soldiers return from their tour, they join to continue or maybe start their creative journey.

↓ Another Patrol - Cpl Ross Fernie, Army Photographer

7th (Armoured) Brigade would like to thank all those involved in collating and sending the Operational Art Packs out to soldiers who were deployed. By the next edition we should have more news on how we will collate the work of the soldiers and their families, and where it will be displayed. The best is yet to come!

(Major Wendy Faux is the SO2 Media Ops with 7 Armoured Brigade and ensured that the art packs were delivered to brigade units in theatre and also that some remained in Germany for use by rear party and Wives Club. The Desert Rats are producing a book of their art, after their tour in Afghanistan. Ed)

↑ B Sqn QDG at Gareshk - Dan Peterson, Linda Kitson Prize Exhibiition 2013 ↓ Afghan Crows - Henry Worsley, oil

Treasurer’s Report - December 2013 Roger Dennis On taking over as Treasurer in March 2013, it was evident that a new accounting system using Microsoft Excel was required, and the old manual system was archived! The new system is based upon the old-style military double-entry book-keeping, in that it incorporates a balance check that immediately shows up any error in an individual entry, but in all other respects it is simpler to operate.

Members will note that there is a deficit with respect to the exhibition balance. This is due to two factors:

Members will have noticed that a large number of transactions are now carried out on-line and our use of cheques has been significantly reduced. This greatly speeds up the accounting process and is more efficient all round, as we do not have to wait weeks for payees to present their cheques.

The use of professional caterers at the Private View greatly enhanced the event, and it is planned to use the same firm again in 2014. In order to make the exhibition books balance, exhibition entry fees have been slightly increased and extra funds from GPF will be voted over to cover any shortfall in 2014.

Balances. The balances at the end of December 2013 accounting period were as follows: Current Account Deposit Account Debtors Total

→

We employed professional caterers at the Private View

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We were invited to donate more money to the Young Gallery than in the previous year.

↓ The Lock-Up, Bradford on Avon - Hilary Doria Jackson, oil

£ 8007.38 £ 3456.65 £ 96.00 £ 11560.03

Individual column balances as at 31 December 2013 are as follows: General Purpose Fund £ 7013.78 Op Art Packs £ 524.09 Serving (War) Artist £ 800.00 Projects £ 3682.12 Exhibitions - £ 459.96

Exhibition 2013 The full 2013 Exhibition costs are shown right. You will note the imbalance in the excess of expenditure over income for last year. Income from sponsorship has reduced as Chemring can no longer sponsor the event. Action is currently in hand to invite other firms to sponsor prizes, and the signs are encouraging. However, the Society seems to be in a healthy financial situation, and we have decided to increase the value of the prize money. The extra will be taken from GPF, pending reimbursement from new sponsors. We await the outcome of the annual audit of the accounts, and look forward to another enjoyable and profitable year’s growth.

Income Entry Fees Twenty Percent of Sales

777.00 2718.15 3495.15

Expenditure Catalogue Posters, Invites, Banner Venue Members Duty Travel Expenses Catering Postage Sta onery Prizes (Non Sponsorship) Credit Card Machine

184.80 437.67 1100.00 403.45 2648.34 140.00 40.24 150.00 201.64 5306.14

Excess of Expenditure over Income

1810.99

Colours and Wonders of Petra - Hilary Doria Jackson

Autumn - Jane Nicholas

19Â

Artist, Wife, Mother in Germany Wendy Faux (Ed. A short story, and a poem, from Fallingbostel) Two small children, a husband deployed on operations and a teaching job makes you wonder where anyone gets time to paint! However, for Lizzie Kendall it is this combination that has brought her art out from the bedroom and into the wider world. Drawing and painting from the age of 12, good results at GCSE and A Level at photography led to and a degree in fine art digital media studies at Exeter University. A PGCE and teaching at Secondary School meant learning even more about painting and drawing and art, and more confidence in displaying her work. Now in Fallingbostel, teaching in primary and with 2 small children, Lizzie is a leading member of the Red Rat Art Group and has exhibited with AAS “The Army Arts Society has helped me loads. I sent 3 paintings over last year, and my husband went to the opening night. He had so much feedback about my work, that it was different, really admired and that has given me more confidence. I shall be working towards the National Portrait Competition, now. “The Red Rat Art Group has been brilliant, because I am not just an Army wife painting with other army wives; we are artists working alongside other artists and that is wonderful. It is what you get in an art teaching team.”

My Beautiful Love By Elizabeth Kendall

We promised we'd be there For each other, For all time, But where are you now My beautiful love? I cannot hear your heart beating Nor hear the sound of your voice. I cannot see you Nor know where you are. Where are you now My beautiful love? I am here, Where I always am. In our home, With our kids, With the photos,

With the ghosts Of your smiles, your laughter, Our dream of happy ever after. But where are you now My beautiful love? Our promise is strong, You have done no wrong, I will wait, I will always wait For your wonderful return, I will wait. And while I wait I paint, And I paint And I paint. I paint it out, I have the time, A lot of time in the evenings so quiet. I find the beauty, Feel the strokes, Love the colour before me, Love the process. You will be amazed When you see what I have done In the time when we are not one.

One, yes one together In soul, in heart, One together Not truly apart. Yet in my dreams Splattered with oils and chalk I long for you, long to talk; To hear your stories Of places unknown to me, Of places I will never see. And I dream of you My beautiful love. In Afghanistan. Afghanistan I will never know Maybe you can paint me a picture Of where you are now My beautiful love. Our promise is true, We will always get through, And I think of you Even as I paint, Because I miss you, I love you My beautiful love.

↑ Poppy Tree - Richard Salter, oil on panel

↓ B Sqn QDG at Gareshk - Dan Peterson, Linda Kitson Prize Exhibiition 2013

erational Art Francesca Bex

Packs

The brain child of previous Chairman Polly Gedney, the Operational Art Pack Programme is now in its third year. To date somewhere in the region of 150 packs have been sent to Afghanistan, with some going to the rear party/Art Group in Fallingbostel.

Where did the packs go? Brigades who have received packs are: →

20 Brigade, October 2011 - April 2012. The Brigade received 50 packs. The Brigade produced a book called ‘Soldiers Flowers’ at the end of their tour incorporating work from professional war artists and users of the art packs.

→

12 Brigade, April 2012 – October 2012. They received 25 Packs and feedback was very positive with many entries to the Serving War Artist Competition.

→

4 Mech Brigade, October 2012 – April 2013. Did not receive their 34 packs due to logistical problems.

→

1 Mech Brigade, April 2013 - October 2013. They received in the region of 70 packs as they had 4 Mech Brigade packs as well. A book has been produced called ‘Reflections’ incorporating work from professional war artists and users of the art packs.

→

7 Armoured Brigade, October 2013 – April 2014. In a slight change of tack, this Brigade have received 50 packs but 20 have been given to the rear party. It is hoped this might produce some interesting contrasts in the work produced. An exhibition is planned for their return, and the publication of a book of art works.

→

20 Brigade, April 2014 - October 2014. Their 50 packs are now in Germany with Capt JC Smith SO3 G1 in Sennelager ready for onward delivery to Afghanistan. We await their return with interest, and hope for yet another book and more entries in the Exhibition.

What is in a pack? The pack contains a small set of watercolours, brushes, pencils, eraser, sponges, two different size sketchbooks, a colour wheel, an instruction book, evaluation form, AAS flyer and AAS magazine. It is all contained in a larger than A4 carrier bag. →

One Operational Art Pack costs about £35 in materials alone.

→

The packs are put together by volunteers of the AAS.

→

Packs are only delivered if a Brigade agrees to take ownership and if one person is designated to oversee the distribution.

→

Funds were raised originally at the Affordable Art Fair in London and more recently from The Forces Trust. Daler Rowney offer a very significant discount on the material orders.

→

We rely on the military network to distribute the packs.

Red Rat Art Group at work in Fallingbostel

Success or Not? It is very apparent that the OAP have been a huge success and well received by both officers and soldiers and by all others out in theatre. Many thanks to all who helped get them out there, and who used them while on dangerous operations, and a warm welcome to families and rear party who use them at home. 22

Confirmation - Karl Nash, graphite pencil

23Â

Digital Images for Publication Roger Dennis Most artists want to create images of their work for printed publications, or to up-load to a website. However, many artists may not know much about digital (or bitmap) images and how they should be prepared for publication. The basic building block of a bitmap image is the pixel, shorthand for ‘picture element’. Thousands of pixels of varying colours, tone and intensity make up a complete image and are contained within a matrix or grid in a similar way to grid squares on a map – hence ‘bitmap’.

Resolution The key factor to consider when preparing an image is the resolution required. This is measured in pixels per inch (ppi). For example, images for websites are normally produced at 72 ppi (the screen resolution,) and for a printing press are normally 300 ppi, to achieve better quality and crispness. But do not confuse this with ‘printer resolution’ which is measured in ‘dots per inch’ (dpi), and is not the same as image resolution, because printer dots are a fixed size whereas pixels in an image can vary in size.

File Type The next thing to consider is the file type, of which there are many. Only TIFF (Tagged Image File Format), JPEG (Joint Photographic Experts Group) and GIF (Graphics Interchange Format) are discussed here. TIFF images are of an exceptionally high quality but have a correspondingly high file size; too big for use on a website because they would take a long time to load. However, it is often useful to scan a picture as a TIFF image, work on it with your photo editing software (eg Adobe Photoshop) and then reduce the file size by saving the image as a JPEG. JPEG images are probably the most common format and can be used when saving greyscale (black and white), RGB and CMYK images. The file size of the image can be influenced in photo editing applications on a sliding scale from low to high. Low quality JPEG images will have correspondingly low file sizes and high quality JPEG images high file sizes. The lower the file size the greater the amount of colour information that is lost due to compression.

Colour

GIF images are used where the image contains large blocks of the same colour such a logo or a flag.

There are two colour models (or modes) that can be applied to bitmap images; RGB (Red, Green and Blue) and CMYK (Cyan, Magenta, Yellow and Black). RGB is important because it mirrors the way that the human eye perceives colour, is the mode used by scanners and digital cameras, and also the way a computer monitor presents an image on the screen

Capturing the Image

The CMYK mode is the colour model used by printers. If you take a look at the colour cartridge of your home colour printer you will see that the four inks mirror these colours (Cyan, Black, Yellow and Magenta). So you will require images in RGB mode for websites, and images in CMYK mode for magazines.

The major enemy of a good digital image is reflected light from an outside source or camera flash, and images that have not been adequately cropped such as the example below.

RGB Mode

CYMK Mode

The other key element to preparing images for publication is capturing the image, usually on a digital camera. The images can then be up-loaded onto a computer and manipulated using photo editing software.

Digital Images for Publication cont ... Photo editing software can manipulate the base image suitable for publication. Here is the same image adjusted ready for publication

July at Cardigan Bay - Fiona Forbes, oil

Note that the image is now sharper, the colour is more intense, and the background to the artwork has been removed by cropping. Another common fault when taking pictures of artwork is that the photographer does not get the camera perpendicular to the work. This results in images having irregular borders like this Good quality images, in the correct format and mode present artwork in the best possible way. Poor quality images do not do justice to good quality artwork.

Pears and Primroses - Fiona Forbes, oil

It is strongly recommended that if you are unable to acquire and edit images of your artwork yourself, consider enlisting the help of someone who has the appropriate tools, knowledge and skill to do it for you.

Succulent Pathways - Gaye Bill, 25 oil

A poem by Prue Swindells We thank you, artists who helped us; We thank you, people who cared; Who read our poem of last year About all the things we feared. So now we are looking forward To another hand- in day, With all your works recorded And ready to display. We’ll stand or sit and chatter, While you give us all your works, But that doesn’t really matter As being here’s one of the perks! We know what is coming for show Long before others can see, And then tell our friends about it, And open the gallery. So let’s have a jolly good day, We hope with lots of fun; And may this year's exhibition Be another really good one! Corinne and her Family Elizabeth Kendall, acrylic

Curves - Prue Swindells

Exhibition Report for 2013 James Thompson The exhibition for 2013 was held in the Library Galleries in Salisbury from 8 to 30th November. An excellent PV on the Friday evening, with about 200 to 250 people attending, showed great interest in the works on display, and the sales figures were very good. Caterers had been engaged to undertake the reception and did an excellent job … at a price. The post PV Dinner was much enjoyed at Cote Brasserie in the middle of Salisbury. We thank our late President, General Sir John Stibbon for inviting Ken Howard OBE RA to come as the Judge. He took his time and was really interested in all the works on display. His comments and his address to the assembled multitude were most apt, learned and amusing. However, he did point out that more money could be made from the early purchase of art works than could ever be made from the purchase and sale of a car! He had known Sir John many years before, when Ken was appointed an official war artist during Exercise Spearpoint in 1980. Among his large portfolio of work, was a superb painting of Sir John’s regiment, 28 Amphibious, crossing the Weser with their magical bridges. There were plenty of visitors to the Exhibition and most voted for a favourite work. Use was made this year for the first time of a card-reader, so that purchasers could use their credit/debit cards to buy paintings in the Exhibition space. It encouraged more purchases and therefore much increased income. Sales were much larger than in the past, the highest level ever known. These are the figures for the 2013 exhibition: Group of Work

Entered/Sold

Framed

172/34

Unframed

87/19

Sculptures

11/1

Photography

13/1

Serving Artist

6/2

Veterans

12/0

Total sales

£10,953.00

Total visitors

985 (excluding PV)

Ken Howard presented the prizes, and General Sir John said his usual encouraging words about the Exhibition and the artists who had entered works. He thanked the Committee for their hard work, especially Roger for the enormous amount he had done to ensure the Exhibition was the success it was.

Splash! - Christina Young, pastel and watercolour 27

The Prizes were awarded as follows: Chemring Prize (any AAS member)

Tana Knyvett

The Souk

Chemring Prize - Runner-up

Tim King

Old Harry Rocks

Aspire Serving Artist Prize

Capt Freddy Paske

First Light

Aspire Serving Artist - Runner-up

Sgt Richard Salter

Lost Moment

Veterans Workshop Prize

Paul Kennedy

Perfect

Photography Prize

Austin Thorp

Winter Evening

Linda Kitson Prize

Dan Peterson

B Sqn QDG, Gareshk

Public Vote

Eve Montgomerie

A Long Way from Home

Corner of the Serving Soldier and Veterans Show 2013

And a further six paintings were awarded Highly Commended certificates: Wounded in Flanders

Richard Horner

Prized Cockerel

Tana Knyvett

Lock-up on Bradford upon Avon Bridge

Hilary Jackson

Nad Ali District CP

Dan Peterson

Gordale Scar

Sir John Stibbon

Rainbow over Figsbury Ring

Bob Ford

Sculptures under glass - Exhibition 2013 All in all a most successful end to the year, and very good exhibition. The standard of works presented was very high, and it was a pleasure to have Ken Howard to award the prizes, and to hear those good and stimulating words form General Sir John, very sadly, for the last time. 28

PS We are still seeking someone to take on the role of Exhibition Secretary. Any takers contact the Secretary or me!

Old Harry Rocks - Tim King, Chemring Prize Runner-up 2013

Artpiffle – Lesson 1 (A new slant on art critics? Ed) I wrote this spoof lesson on Artpiffle (a politer term than the more apposite ‘Artb*ll*cks’) after a recent visit to two London shows: first Ken Howard RA’s one man show at Richard Green’s and then the London Art Fair (LAF) in Islington. It was the contrast between Ken – who at 80 is still ‘inspired by light’, still pushing himself to explore, and still painting like an angel – and the vacuous and repetitive nonsense paraded as art in many of the LAF market stalls. Not to put too fine a point on it, they were obviously having a ‘laff’. Every visitor to LAF was offered a free copy of a contemporary art magazine with a paragraph that really got my goat. It was in the constipated language used by those ‘on the inside’ (or who want to be); a form of obscurans obscurantis jabberwocky aimed at bedazzling and bamboozling the rest of us; and mostly, as the Bard would have it, ‘signifying nothing’.

Tim King ‘Inner and outer signifying contexts’ comes straight out of Semiotics. We will cover how you can borrow cleversounding phrases from other disciplines later, so don’t worry about meaning, just be grateful that they sound clever. Ontological phraseology is always a good bet for sowing confusion whilst sounding impressive; and if you are really stuck, then quote something from Kant: his concept of ‘das ding an sich’ is a good start. Now, we know that it is nigh on impossible to ‘take responsibility for our own thoughts, feelings and perceptions’ because they just happen. However it is useful padding, it will puzzle any reader who thinks about it, and is just the sort of thing to introduce in your Artpiffle statements if you are feeling stuck for words. ‘To be awake to what they resonate with and connect us to’ is a neat way of making the reader feel that if the earth does not move for them when they experience your work, they can’t be awake, or worse that they are not clever enough to ‘get’ it. Nobody wants to be the odd one out, even if the Emperor is naked.

Dear art student, Artpiffle has become the lingua franca of art curators, historians, critics, theorists and just about anyone who makes a career out of art. You will not be taken seriously by these people unless you can write and speak Artpiffle. Before you can do that, you must be able The final, killer phrase in our text is: ‘and why it matters’. to understand it. We know that contemporary art mostly doesn’t matter but that is not the point. If you want the patronage of gullible Today we will study this paragraph from a recent edition people with very deep pockets you must make the reader of a British contemporary art magazine: feel that it should matter, that they want it to matter, and that by buying your very expensive creations they will ‘[He] pushes us to be sensationally, emotionally and intellectually aware of inner and outer signifying contexts, help to make it matter. to take responsibility for our own thoughts, feelings and So there you are. With suitable use of Artpiffle in your perceptions, and to be awake to what they resonate with, artist’s statements and promotional material, you can and connect us to, and why it matters.’ confuse the unquestioning reader into believing that you are a genius. If your Artpiffle is good enough, you may First, you need to know that anything beginning with even get yourself noticed by someone really powerful ‘pushes us’, ‘challenges us’ or similar words means: ‘I don’t understand it, but maybe you will’. If you are not who can turn you into the Next Big Thing. sure what your own work is about, you can always say that you are ‘pushing’ or ‘challenging’ something or someone. The phrase ‘sensationally, emotionally and intellectually’ of course means: ‘I am not really sure how the work is meant to move you, so just do your best to be moved by it’.

Thank you for your attention. In lesson 2 we will be studying how to make the most of Artpiffle at a Private View!

Hidden Figure - Gaye Bill, oil

Girl with the Pearl Earring - Tony Uloth, bronze

Midwinter - Norma Bell, acrylic

Aghan figure - Henry Worsley, oil

Shhh! Artist at Work - Alix Baker, oil

Hebridean Morning - Norma Bell, acrylic

Steel Jerboa … A Ratty Tale Wendy Faux Under the guidance of war artist Anna Redwood, metal smiths from 2 Close Support Battalion, REME have constructed a giant jerboa sculpture to commemorate the last deployment to Afghanistan of the 7th Armoured Brigade, The Desert Rats. Anna is a successful portrait artist, and joined 7 Bde in Afghanistan as a war artist, to produce a series of paintings of life on Op Herrick 19. This is her first operational deployment which she has thoroughly enjoyed. “Soldiers make wonderful models because they are constantly changing their poses, and are very inspirational.,” she said. The brigade celebrates its 75th Anniversary this year, and their final tour as an Armoured Brigade. In 2015 it becomes an infantry brigade and Anna thought it appropriate to commemorate their

history as an Armoured Division and Brigade. The metal rat has been constructed out of parts of vehicles used throughout Op Herrick. It stands over ten feet tall, and weighs more than half a tonne. The jerboa now stands guard outside the accommodation of 7 Brigade staff in Camp Bastion, and will return to Hohne, Germany after the tour, and eventually settle in the UK when the Brigade relocates in 2015. SSgt Lee Murray, 2 CS Bn, REME oversaw the entire project from start to finish: “It was challenging to build something on this scale with parts of vehicles unique to Afghanistan”, and Sgt Matt Field, who worked closely with Anna Redwood on the actual production of the sculpture said: “It’s been a compelling project … not done before … lot of hard work … really chuffed with the result.”

Anna, Bde Comd and construction crew admire the Big Steel Rat! 31

↓ On Milford Beach - Tessa van Hasselt

32 ↑ Moroccan Garden -Christina Young, acrylic& collage

↓ Fuchsia - Mike Walker, gouache

↑ Inner Sanctuary - Richard Salter, oil on panel

Art at Tedworth House & Roche Court Jenny Arthy and Francesca Bex In 2012 Army Arts Society volunteers visited Tedworth House to meet Jenny Arthy who was establishing an art programme for the residents. This programme has gone from strength to strength due to Jenny's hard work and inspirational teaching. The art undertaken is innovative and stimulating and it will often be the first time a resident has drawn or painted since school days. The group has now exhibited at the AAS annual exhibition for the last two years. During this time Francesca Bex, who works at Roche Court Sculpture Park, encouraged the group to visit. The AAS funded this initial visit and it was such a success that a long term Residents from Tedworth House viewing Angry Pins, Des project between Tedworth House and The Roche Court Hughes © the artist & New Art Centre, Roche Court Sculpture Park Educational Trust has been set up. The AAS is delighted that this initial funding and support from its members has led to such a successful project.

‘Seeing Beyond’ ‘Seeing Beyond’ is a partnership programme, between the Help for Heroes run recovery centre, Tedworth House, and The Roche Court Educational Trust. The Trust staff provides interactive visits around the Sculpture Park and current exhibitions at the New Art Centre at Roche Court once a month to support programmes of activity at Tedworth House. The visits help injured service men and woman to improve their speaking and listening skills through access to the arts. The discussions of the sculptures can be quite lively! In 2014 the project will continue to provide more opportunities including a sculpture day in the art room at Tedworth House. Steve Burrows, Functional Skills Tutor at Tedworth House says: “The staff of The Roche Court Educational Trust tailored the visit to our needs concerning speaking and listening. The interaction on the visit and feedback we received was very positive. In fact, one member used Dame Barbara Hepworth and her work/life for his formal discussion the following week.”

Warrior! – a pencil drawing

“Through these visits we have found a fantastic way of opening minds, providing mental stimulation, engaging residents with something new and interesting, boosting self-esteem and motivation. Each individual benefits in a different way as the groups are so diverse. They all take away something different and their own personal experiences.”

Tedworth Art Room Meanwhile, the Art Room at Tedworth House is going from strength to strength, led by Jenny. Apart from the usual weekly art sessions we have just launched our monthly Art Club, open to Residents and the Band of Brothers, from April. We also plan to run three to four One Day Workshops through the Year, again for Residents and BoB, opening with Airbrushing, Life Drawing, Sculpture, and Cartoons with Bryn Parry, who helped to get Tedworth House up and running. Several of our artists entered works for the AAS Exhibition last year, and we hope to repeat this success in November. Here are some examples of the current work being produced.

Soldier – a small sculpture 33

Army Arts Society

14th to 29th November 2014

The Young Galleries, Salisbury Library, Market Place, Salisbury SP11BL The following Prizes will be awarded: →

The Linda Kitson Serving Artist Competition First Prize - £400

→

Linda Kitson Serving Artist Competition Runner-up - £200 (Open only to Serving members of the Army Regular and Reserve/TA)

→

The Aspire Defence Prize to a Veteran - £200 (Open to members who are Retired)

→

The Help for Heroes Prize - £200 (Open only to Army members/Veterans at art workshops at Recovery Centres)

→

The Aspire Defence Prize for a Cadet - £150 (Open to all members of the UOTC, CCF, ACF: any subject in any medium)

→

The Aspire Defence Prize for Families- £150 (Open to Family members of the AAS in any medium)

→

The Photography Prize - £100 (Open to all members)

→

The Public Vote Prize - £100 (Awarded after Exhibition) (Open to all members of AAS, as voted by visitors to the Exhibition)

VIP Guest and Judge We are delighted to say that the Exhibition will be judged by Christopher Miers RBA this year, the Past Hon Secretary of the Armed Forces Art Society.

Submission of Work - General Instructions 1

Work should not have been exhibited by AAS before, and should have been produced within the last 2 years, except for Group D (See below). Artists may offer an item only once in Group A, C and U.

No entry will be accepted after the closing date of 13 Oct 14. All entries MUST be listed on the appropriate entry form and submitted with the total entry fees applicable.

Entry Fees for the 2014 Exhibition are as follows:

Timetable of Events 2014

All framed paintings for sale - £5 per work.

All unframed paintings/prints for the browsers £2 per work.

Sculpture - £5 per work

Craft items - £5 per work

All work Not for Sale (NFS) - £20 per work.

Members under the age of 22 years will pay £2 per work and £10 for NFS items.

Entry Fees should be paid by cheque please, made payable to ‘The Army Arts Society’.

All exhibits for sale will be subject to a 20% sales commission.

All works must be clean and dust free, prepared and well presented for viewing. Work presented in old frames or in a dirty condition will not be hung. Hanging cord, labels and fixings must be as specified below. Artists are responsible for preparation and adjustment of entries before handing in.

Saturday 15 to Saturday 29 November → Open to the public (Open daily during normal Library opening hours. Closed on Sundays)

Paintings based on a photograph must acknowledge the photographer.

Monday 1 December → Collect all sold and unsold work between 1100-1600 hrs

Entries for the Exhibition and Competitions are to be handed in during the times shown above on Monday 10th November. It is accepted that there may be some exceptions, but please keep this to a minimum.

Monday 13 October → Entry forms returned to Exhibition Secretary (Roger Dennis) Monday 10 November → 1000-1200 Hand-in all work by entrants’ names starting A to M → 1300-1500 Hand-in work for those starting N to Z Tuesday 11 to Thursday 13 November → Hanging and catalogue production Friday 14 November → 1600 Judging → 1800-2000 Private View and Reception

D-rings on each side. Protruding loop rings or hooks will NOT be accepted. A label giving the following details should be attached to the hanging wire by string long enough to hang over the front:

Artists (or their representatives) are expected to hand in their works personally. It is regretted that the Exhibition Secretary will not accept work by mail or courier this year. Exhibitors who cannot deliver their work personally may use the services of an agent. When collecting work after the exhibition under these circumstances, a letter of authority should be provided by the artist. Please note there are separate forms of entry for Members and for Serving Personnel entering the Serving Artist Competition. Please make sure that you use the appropriate form. Works are entered by ‘Groups’ as set out below.

→ → → →

A similar adhesive label should be attached to the rear of the picture. Unglazed work should have a small piece of white card protruding from the bottom right of the back, so that the catalogue number can be affixed.

Minimum sale price for framed works is £100.

If space is short, the Committee may cull paintings with the letter ‘L’ on the label.

Linda Kitson Serving Artist Competition 12

Entry for this painting competition is free and is open to all army serving personnel (of any rank) only. The work can be of any subject and undertaken in any medium. Judging will take place on Friday

Entry Forms 13

Entry Forms will be available for download from the AAS website. Any member who is unable to obtain an entry form in this way should contact the Exhibition Secretary (details below) and the appropriate forms will be sent out by post. Please ensure you identify yourself as Serving, or Veteran, or H4H, or Family, or Cadet in the appropriate box on the entry form, to become eligible for the competitions and prizes! All completed Entry Forms along with the appropriate entry fee (if applicable) should arrive with the Exhibition Secretary no later than Monday 13 October 2014.

Group C (Craft) 20

Any number of items may be entered, if made by the exhibitor, to sit within an area of 3ft x 2ft max. Members should produce a list of items, their own descriptive labels and the sale price.

Greeting cards may be offered for sale in packs at £5 per pack. The number of cards in an individual pack is for the artist to decide. Professional, tidy card racks are to be provided by exhibitors.

Group D (Donated framed & unframed pictures) 22

Insurance 15

All AAS members are covered for Third Party Public Liability Insurance during the Exhibition through the Society for All Artists (SAA), but works should be insured against theft and damage by individual artists. Naturally, every effort will be taken by the AAS and Library gallery staff to ensure that works are not damaged during the exhibition, but no liability for theft or damage can be accepted by the Society. You are reminded that the galleries are open to the public, and though the exhibition will be stewarded during opening hours and there are closed circuit cameras within the Library, the security of works cannot be guaranteed.

Group A (Art) Framed paintings & box canvases 16

Up to 4 works may be entered, properly mounted and framed. Stout string or wire should be used for hanging, secured to the sides of the frame on the reverse, about 1/3 down from the top, using proper

Exhibitor’s name Title of work Medium Sale price (With letter ‘L’ for your lowest priority work)

Any donated works will be offered for sale using a closed bidding system. The highest bidder will win the work. Please clearly identify donated works in the separate box on the Entry Form. Bids can be made any time during the Exhibition, and will be opened on the closing day.

Group P (Photography) 23

Up to 4 photographs may be entered, in colour or black and white, suitably mounted and framed, or wrapped in cellophane. A label giving details as per Group A is to be affixed on the rear of each entry, another on a label on string for framed entries, and on the top right front of unframed. Minimum sale price should be £25.

Group S (Sculpture) 24

Any number of sculptures or 3-dimensional pieces may be entered. A label with details per Group A is required. Exhibitors should provide their own stand or plinth. Display cases are provided by the Library.

Group U (Unframed paintings)

Collection of Works

Members may submit up to 6 mounted, cellophane wrapped unframed works. A label with details as for Group A should be affixed to the rear of the item, and on the top right front of the wrapping. Minimum sale price is to be ÂŁ50

Private View 26

The PV is the opportunity for the artists to meet purchasers, and make new contacts for commissions. All entrants are encouraged to attend. Help is needed in the organisation and preparation for this event, and volunteers are asked to indicate on the entry form what/ when they could help. All exhibiting artists will be sent a number of PV Invitations to distribute as they deem appropriate .

The galleries have to be cleared after the exhibition and there is NO SPACE TO HOLD WORKS after the event. All works are to be cleared by 1600 hrs on Monday 1 December 2014 as indicated in the timetable above. Any work not collected will be disposed of.

Queries 29

These instructions are available on the website and all communications and queries relating to them or the exhibition in general should be directed to the Exhibition Secretary: Roger Dennis Fir Tree Cottage, The Bartletts, Shaftesbury Road, Mere, Warminster, Wiltshire BA12 6BN Tel: 01747 860 138 Mobile: 07475 112 074 e-mail: r.b.dennis@btinternet.com (2014 Exhibition matters only)

Water lily - Mike Walker, gouache

AAS application for membership Please complete this form and Standing Order Form and send both forms to the Secretary (see contact details below). The annual subscription, payable by standing order, is ÂŁ15 per person. Non commissioned ranks, soldiers and dependants who are under the age of 22 in full time education, are exempt the membership fee. Those who have joined us through specific workshops are also exempt, as advised by their art mentor . Please complete in block capitals or circle as appropriate. Full Name Please include any titles or decorations you wish to be used in correspondence.

Address

Post Code Telephone No E-mail Any information you would like us to know about you, for example the art or craft you specialise in

Are you or your spouse currently serving in the Army?

Yes/No

Rank if serving:

If not please give your connection with the Army. Have you completed and attached your Standing Order Form? Where did you hear about the Army Arts Society?

Yes / No - I am exempt membership fees

Signature

date

Please send the completed form (and standing order form if applicable) by post to: The Membership Secretary, M Walker, 4 The Croft, Bishopstone, Salisbury, Wiltshire, SP5 4DF IMPORTANT: The Secretary holds details from completed application forms in a database on their PC at home. Please inform him if you object to this. The information will not be published. 37

Spinnaker Tower - Austin Thorp, photograph

SOCIETY NOTICES Exhibition at St Margaret’s Church, Westminster - November. An exhibition is to be mounted at St Margaret’s in Westminster, during the run-up to Remembrance Sunday. This is an excellent opportunity for the AAS to be central to the National Remembrance Week, for the first year of The Great War. It is hoped that this exhibition will be well supported by members, and we might secure a place for future years. The Chairman is coordinating events with help from London University OTC. The programme of events is: Mon 1 Sep 14

Hand-in works at Wellington Barracks (Car parking is available)

Mon 6 Oct–10 Nov

Open to the public 1000-1700 hrs, except during services.

Mon 6 Oct 14

Private View from 1730 until 2030 hrs

Mon 10 Nov 14

Exhibition closes at 1700 hrs

Tue 11-14 Nov 14

Hand-back works at Wellington Barracks

The theme for this exhibition is ‘Remembrance – Going to War 1914’. Exhibits will be judged, and they could be made available for sale. The exhibition space is small, but up to 30 works could be displayed. Members are asked to support with exhibits and to visit and perhaps steward from time to time. Further details will be published later, in a Newsletter.

Annual General Meeting 2014 - July The AGM of the Society will be held this year at the Officers Mess of the Aviation Centre, Middle Wallop, HANTS, on Friday 4th July at 1700 hrs. Access is available from the main road (A343) from the roundabout opposite the entrance to the Aviation Centre. There is plenty of car parking space. The agenda will be published nearer the time in a Newsletter from the Secretary, and we look forward to lively support from local members!

Armed Forces Art Society - July Our ‘cousin’ Society, AFAS, is holding its Annual Exhibition in The Mall Galleries, London from Monday 14th to Saturday 19th July. Opening hours are 1000 to 1700 hrs each day, but closes at 1500 hrs on 19th. Entry is free and the standard of works on display, from artists of all the Armed Forces, is very high. Most of the work on display is for sale, and members of AAS are made very welcome to visit. See more on their website: www.afas.org.uk

Salisbury Group of Artists - July (Ed: My other claim on time!) The SGA is holding their Summer Exhibition in the Salisbury Library Galleries (where we hold ours) from 5 to 26 July, and handing–in is on 30 June 2014. Full details are available from the website: www.salisburyartists.co.uk

One Man Show in Salisbury - July Richard Salter, one of our serving members and the Runner-up in the Aspire Serving War Artist Competition in 2013, is holding a one-man show at Gallery 21 in Salisbury from 26th June to 13th July. The vice-Chairman and Publicity Member attended the PV on 26th June which was well supported. His work is selling well and there is a lot of new painting on display, much on the theme of Remembrance. Members are encouraged to visit this excellent exhibition and support a serving member.