SEA GLASS – SEAHAM BEECH by MARGARET SMITH

Making a simple photographic record of a work of craft or art in glass is absolutely worthwhile, and not necessarily easy. Tasked to look for an image of the month, I sought out representations that seemed to add particular value to the subjects. Ian Hughes’ quest to show a triptych of ancient windows framed by relatively modern windows works perfectly. Susan Bourne’s open window and strong shadows in sunshine make for a far more interesting composition than some ‘mugshot’ of a historic building.
Paul’s Underhill’s lighthouse light seems all the better for its asymmetry, with a serpentine sweep down one side softening spiky horizontals. Janine Fearon’s crystal is a fascinating object subtly lit, almost suspended in space. Paul Higgins’ glasswork in action is an amazing scene. No goggles, traditional shapes and patterns, not even necessarily regarded as beautiful today. Perhaps a dying art.
David Crutchley’s image of outstretched hand and its shadows (seen in the most recent newsletter after the Saltaire visit) skilfully extracts one key component of a harrowing scene, from a work I’ve never seen in the flesh. He perhaps shifts the story that it tells. His version provides us with a compelling image.
Gill Pinkerton’s flower captive in a ring of glass works beautifully as composition and contrast. Among SPG members’ images from their month I admire Mike Mellers’ view of the Gloucester cathedral cloister. As a print on a wall its detail would yield a succession of visual rewards for a long, long time.
For me that longevity of appeal is also there with Margaret Smith’s image, with its greatest impact implied rather than direct. It gathers objects made by humans, progressively shaped and eroded by two inexorable powers, time and tide, on their way to dust. Thank you, Margaret, and thank you all.

Rodney Dinnen