PHO705: Christmas Reflection

The last week of Christmas Reflection before the University three week Assessment Period and course resumption next month on 20 January.

Portfolio Image Processing

The intention during the break has been to build a large enough catalogue of images for the current stage – transition to making.

The plan is to generate enough work to feed the planned public outcomes. This building activity is designed to generate the larger numbers of images required and serve to gather feedback and critique prior to a final edit for the assignments.

Work continued on processing images in light of the outcomes following the Imaging Science with the following developments.

Side by side image comparison

This refers to the outcomes of digital darkroom processing before and after imaging science symposium.

This is a side by side comparison of Method A (original image compression/decompression method) versus Method B (filter).

The reason for this was that whilst outcomes were easier to obtain were they flatter as in looking as a greyscale monochrome effect? The results are in the now-classic red developed for the summer exhibition.

Colour Outcomes

With so much focus on the above, the investigation of colour outcomes had taken a minor role in project development in the making aspect and so this has begun to be righted.

Colour Abstract Images by Michael Turner

The use of colour became important and was then dropped during an edit. Primarily, this use of colour became a signature style and appeared to have an indication of having greater commercial potential. What could be better, a signature style with commercial potential? One assessment is that we are living in a political age in which austerity is seen to be coming to a gradual close. Perhaps viewers want something with a sense of bright optimism or perhaps simply a distraction from their day.

The use of colour has to remain true to the project intent and colour was introduced because of this, as a way of remaining independently connected with the past and while living our lives find a sense of celebration.

Would those. making the greatest sacrifice have wished us to live our lives with sombre memory. Recognition, yes, if freely given and more nowadays with a reminder given the decline of living memory. The celebration of freedom is something that does not have to be justified but in doing so celebration represents our natural response to being free.

Celebration ought not to be a constant. Just as a grin tires and even begins to appear foolish we ought to as an intent of the Motherline provide the opportunity for the viewer to look upon the work and be given the opportunity to feel more uplifted. This intent has to be more grounded than consequences otherwise: a heavy heart: or even confusion as to why ponder over that which is dark.

Without consideration, the work could become irrelevant too soon.

There again a mixed visual message could be an outcome of mixing the sombre with the celebratory. It could easily make resolved work look unresolved.

To date, the use of colour has stubbornly remained as monochrome plus red (as in the blood spilt). The bright vibrant colours were dropped. However, it is a strong sign that colour was never let go of completely meaning that is an important element for the author.

It is not necessary or always beneficial to have a fixed signature style and yet realising this, it is a stronger motive to have vibrant saturated colour as an uplifting portfolio intent but that has to remain rooted to the past.

A previous line of the study led to Art as an Experience as a way forward but with a final outcome or realisation that Rothko who created work in this style ended his own life. This created a flash response, a rejection of this kind of art due to the association of an act seen as cowardly in some senses and it is linked to themes of bravery. This seemed like a form of ‘contamination’. The wrong word but a countertheme perhaps.

There is also the important consideration of self-preservation when deeply involved in the emotional response to the past events that consumed relatives. Normally, there would be moments of feeling but as an ongoing photography project, the intensity of feeling was heightened time and again through the authorship task. In a sense, this turned the theme away from colour but the themes remained in sombre mood. Something has changed in the six months or so that have passed.

It has to be the taking up again of Family Constellations. Realising that they (ancestors) had their lives, and lived the consequences, there is no need for us (or the author) to allow ourselves to become consumed. We can avoid entanglement with those we loved or would have loved and realise that we can simply live our own lives to the best we can reasonably do so.

What does this mean? Simply that the seeming barrier to using bright vibrant and saturated colour can be removed and colour brought back.

Looking back, is this the whole story? Two modules ago a colour image went for critique and was deemed undeniably to be DECORATIVE. The colour palette was pastel in the image, and not in harmony with the sombre.

Around this time Art as Experience as in Rothko’s large scale paintings in colour fell from favour in learning of Rothko’s demise. Circumstances further combined around the quasi-spiritual way in which an element of randomness in image data, resulted in stronger black and white images tied to emergent themes (of biology and of ghosts). And in such ways the argument swings between colour and black and white.

There is an element of being guided by the quasi-spiritual as this links to the soul of the author. This can be an intense experience. Whether this translates to the viewer is another matter.

What did connect at the practice exhibition was the availability of contextualising material and an artist talk. Beyond this was a strong engagement with activity in the presence of the author. Being able to pick up the prints and the exhibition in a box that was present meant visitors engaged over these. Whether this would stand in the absence of the author is probably a key point. Is the work meant to be a performance, is a key question? In fact, performance is the natural element the author prefers to work with as the socialising element of photography is a key motivator.

As an exhibition, this can be managed and through the author’s nature, it would be difficult to resist engagement. Again though, how would the work stand in the author’s absence. There are more occasions possible without the presence of the author, thus it becomes necessary to convey somehow that presence by some other means such as recording and prepared materials (for exhibition activity).

The strongest implementation is the exhibition in a box as it encompasses many if not all of the characteristics thought desireable. The presentation of the exhibition in a box at critique at Unseen Amsterdam was the embodiment. The way that critique ran, was as a result of having had the practice exhibition as a primer.

Public outreach becomes the challenge, So although the performative elements are satisfied would there be little or no residual message for the public, a curator or compared to prize entry.

A book, and it was thought that a book would be a strong approach, could resolve some of the performative and outreach elements. It would have to be more than a picture book and border on an activity book.

At the summer exhibition, it was good to have a book dummy to show the scope of the course, over which there was interest. This time it would be necessary to contain the subject to the Motherline project, where before it was the outcome of the so-called Rothko challenge.

An exhibition pamphlet was also created and was dark printed. Even the red colour was printed in black. This was a very uniform pamphlet in the current trend of the black paper noted at Arles Recontres. It was simple, lightweight in production demands (other than ink) and carried off well in dark mood. The actual pamphlet contained the full 23 image selection rather than the slightly later 18 image edit of the final exhibition. There was also a solution to cover printing.

Another pamphlet has to be made. This is in the final project plan. It could carry off colour printing but perhaps not with the same consistency as the black and white pamphlet. There is an accomplishment in hand binding even for the saddle-stitched example.

After a recent visit to The Photographers Gallery examples were purchased of sheet books similar to the pamphlet. One is unstitched and a plastic cover (Klien, 2019) with a long edge fold to keep the sheets stacked. The other is a small-sized monograph (Atkinson, 2017) with stapled binding.

Also in the portrayal of molecular biology, visuals e.g. DNA authors use colour for visual elements as an artistic choice. Vibrant, saturated colour fits well with this established theme.

Further Image Development

Image abstractions had so far resulted from healing wound photographs as this is the powerful tie between the living and those ancestors from the past. In the current period of reflection, the reading around the Unheimlich or Phantasmagoria, the Weird and the Eerie has had an impact on visual perception. Once triggered the appearance of abstract ghost or landscapes became unavoidable. As a consequence not 100% of abstract ghost images or eerie landscapes have been derived from healing wounds.

Once the mind’s eye became attuned, a few potential photographs began to be gathered and processed. Although only a few such images have resulted, the principle of authenticity has to be considered. Would these images pollute, or even dilute the work? Perhaps it is no different to using archive photographs?

FMP Guest Lectures

It was decided early on to engage in the (optional) guest lecture series provided as FMP resources. Ahead of deadline which if there is one is during resumption in late January.

In looking ahead the following lectures have been watched ahead of updating a blog post for each.


Guest Lecture (Publication) – Christiane Monarchi Part 1

Guest Lecture (Publication) – Christiane Monarchi Part 2

Guest Lecture (Publication) – Jim Mortram

Guest Lecture (Publication) – David Moore

Guest Lecture (Publication) – Guy Martin

Work is being piled up in the break. It will be important to keep the balance of progress right. As a consequence, Guest Lecture consumption has been placed outside of “office hours”. Watching the GLs encourages focus on them and while it would be good to complete the related blog posts this would detract from other key activities.

A video/moving still has yet to be made. The approaches considered for making have two options at present 1) a moving landscape – a file has been processed to enable this to be done. 2) a remake of the video made in the previous module and used in the Summer Exhibition – the materials could bring onboard archive stills, the historic family album and war scene images extracted from video footage.

This serves to expand the related theme possibilities and has been an investment in time. It may be that the time has arrived to begin looking for the most plausible way forward that strengthens the project Motherline.

The examples of other work that comes to mind when resolving this are:

War Primer 2 (Broomberg, 2018) – here pages are media collages of different sources of still including from television or video in one example a tv broadcast is visible. This is the most comprehensive use of materials but likely a challenge to manage as a solo presentation. Is it necessary to use all of the sources gathered for the FMP Module,? Probably no, if the result looks scruffy and the public materials have increased scope of errant decision making by incorrectly pairing when there is a vast amount of images not to mention the appearance of several texts per collage. Broomberg worked with Chanarin and so together they were able to take stock and check more readily for potential flaws. It is not known how long the authors spent creating the edit for War Primer 2 but this could easily exceed the FMP three months work remaining on this MA Photography course.

What is most likely is that War Primer 2 provides a structure to test against in making Motherline. Then beyond the MA there are materials already researched for potential further development. One possibility is to separate some of the picture sources into supporting work products, as in an extra book dummy which could be useful in further practising bookbinding. or as a video or moving still resource.

It will be advisable to avoid being drawn into this too far before considering the mark. In the previous module, in addition to the three assignments that were handed in, a lot of hard work was done and at the last, there were unmarked items: book dummies (book and catalogue), an eight-day (so-called practice) exhibition with an artist talk and other supporting work; portable exhibition in a box, video, music selection, side exhibition of colour abstract work and extra prints.

Reminders

Trial PDF making.

Return to video / moving stills making.

Bibliography

Atkinson, C. (2017) London Barbican. 2017 Open. Cafe Royal Books CRB. Available at: www.caferoyalbooks.com.

Broomberg, A. and Chanarin, O. (2018) War Primer 2. London, [England]: MACK.

Klein, W. (2019) Photographique. 1st edn. Edited by K. Stevens and P.-L. Denis. ethos.ink. Available at: http://www.ethos.ink.

PHO705: Christmas Reflection

This post relates to calendar Weeks 13 and 14. A return was made to reading, PHO705: Research – Phantasmagoria and the Weird and the Eerie in PHO705: Beyond the Unheimlich. This has meant going back to these earlier weeks posts to update them.

The way this blog is structured it keeps to an original plan of delivering posts to a given schedule. A number of blank posts are present that call for attention, for example, reviewing some optional FMP video materials that if reviewed give a wider experience. This brings attention to the activities and should help to get the work done. There is a natural balance developing.

At present activity has been prioritised towards making and this is timely given the Symposium attended and the access gained to relevant expertise and further related research. Meanwhile, sets of images will be needed as a growing matter of urgency, to build a broad portfolio for onward editing. Making also gained importance in avoiding any pitfall in interpreting science. An example that comes to mind is that of Phrenology from the earlier years of photography. The project assumption around IR filtering and processing becomes trace rather than direct as originally postulated. The theme of identification of Motherline ancestors remained true.

PHO705: Digital Darkroom Analysis for Motherline

An analysis of digital darkroom activity followed on from the posts on Art Science and Imaging Science Symposium and concerns the How. This has resulted on a return to making which until now had slowed while research ran on.

A change in method has occurred to an equivalent approach that produces equivalent results and was possible after a more detailed look into the techniques used as well as having been able to enter the discussion with scientific imaging experts. The new darkroom method is more direct and controllable and simpler to work with.

Greater insight has led to more flexible image manipulation and then onto a new approach able to generate image sets. Potentially the extended method could be used to generate wide landscapes or sets of images for moving stills. This is very much in tune with the Final Proposal to generate supporting materials during the seasonal break, to advance the materials available to use in an exhibition or book.

Further work into contextualising the project visuals has been progressed by capturing images from Great War video broadcast material. The capture and initial handling of the numerous images is an enabler to any next stage.

The themes derived have expanded choice and at some point in the next month say some decisions will have to be made. It would make sense to trial the themes where possible and even make them public to get a sense of what gains the best impact while maintaining the original project intent.

PHO705: Recombinant Rhymes and DNA Art

This blog was revisited and research extended from DNA to RNA and the 1100-word set for words containing the letters ACGT of the DNA bases has been extended for RNA bases ACGU with a 500-word set (lists partially overlap each other). It has been informative to learn of the RNA processes and how it connects to the overall picture of life.

The activity is more of a supporting task than the main task of the FMP but will add to the overall impact of the planned exhibition and possibly of a book.

Conclusion

First identified in PHO705: Research-Driven Practice effort has substantially moved to build research around Motherline project development. The natural cycle of research turning into making continues on from two earlier modules and informs the FMP module activity which is given a solid grounding in project-related research. The intent is to take work public and then enter a final stage of refinement and edit stage to ready for submission for assessment.

PHO705: Digital Darkroom Analysis for Motherline

This post follows on from PHO705: Symposium – Good Picture 2019 “Imaging Revealed”

A detail was examined of the source of image glow in humans

Michael Turner based on UV image by Dr J Crowther

Access to imaging scientists led to emanation being discarded as it is undetectable. Instead, attention is brought to body reflection in the visible light spectrum. The scope was introduced for a secondary effect caused by visible light having triggered bacterial fluorescence.

Further research and reflection have guided change and resulted in the adaption of digital darkroom processing that now uses simpler steps that are easier to manage and more flexible in fine-tuning the healing wound image.

Motherline (mtDNA) and Glow

The ancestral basis of identification between individuals had been established through the Motherline as an image Aura or Emanation.

The method still stands, but as trace rather than direct emanation. Trace is in cellular heat created by mtDNA / ATP processes. This is largely through the increased blood supply at a healing wound. Blood contains levels of mtDNA as do all of the other cells but does not contain nuclear DNA. Direct emanation by humans is a measurable process but it is only detectable using scientific instruments.

We have to discount bacterial fluorescence. Bacteria are necessary to our existence and are present in great numbers alongside our human cells. However, bacteria are not genetically human and so the glow created by bacterial fluorescence cannot be attributed to the ancestral link but to the general population instead. Bacterial glow does not develop the psychological process of identification with ancestors.

Equivalence

Equivalence has been found between:

Process A

In HDR Tone

Compress (gamma) and simplify (slider)

In Levels

Spread and decompress (gamma)

Process B (new)

Simplify (ACR Clarity)

Colour layer | Luminance

In Levels

Spread

Comparison A versus B

The effects are equivalent and the number of steps the same. Method A can lose image data by compressing and decompressing where Method B preserves data. Method B. This gives more scope to subtly enhance the through colour channel (RGB) adjustments.

Conclusion

Processing Method A (HDR Tone) remains valid although there is no direct detection of IR. Method B can be adopted in its place for improved data retention and colour processing. The effect applied can be more readily followed.

Visible light detection is what is present and derives mainly from the blood supply to and around the healing wound and is connected to Motherline mtDNA although. As nuclear DNA is not presented in blood this makes the detection a close.

PHO705: Guest Lecture (Publication) – Christiane Monarchi Part 2

Watch this Guest Lecture video and comment.

This is a lecture designed to help artists/photographers take their work forward and is based on experience in the art market and photography competitions.

The idea is to think of the product and object product quality. Lower quality can be of greater value. Long-lasting ink helps as does a small edition size where 3 might be better than 20 is unique. Start with low prices and grow with later editions after sell out.

Consider mounting so collectors can store as archival photographs and longevity affects price.

Another consideration is to prepare a statement for later to be condensed. Have own words ready to go.

It’s better to have updates on the website rather than separate CV. It is valid to have an interchange say with other students and record their interpretation of work. It is very different to only the artist’s own words and less emotional and personal.

Social media should be about you and promote others exhibitions. Link back to the website.

Advice from an RA talk was given. Then different types of gallery were classified.

In another part of the guest lecture consideration and advice was given over Competitions (and residencies) and of Collectives where people foster creativity and show together.

PHO705: Symposium – Good Picture 2019 “Imaging Revealed”

Note concerning project naming:

The name Motherline is introduced into blog usage below as it is now being adopted. Motherline refers to the photography of healing wounds and the resultant abstract glow images from a digital post method.

Imaging Science

Long-awaited, the Symposium on imaging science took place at the University of Westminster. on Saturday 14 December 2019.

The opportunity existed to be introduced and meet people from the scientific and medical community. A number of those present were from the Kodak or Ilford companies and from the Universities or other professional bodies.

Imaging science participants were generous in giving their time to listen to the Motherline image glow and the post-processing techniques used.

Michael Turner based on UV image by Dr J Crowther
Michael Turner based on UV image by Dr J Crowther

A processed image was created from a UV image portrait captured after the Symposium talk Imaging the Skin – UV, visible light and IR

As preparation for attending the conference, research was conducted into image compression and decompression, as the techniques used in enhancing glow in Motherline photographs.

It became possible to describe to a medical forensic imaging expert the art interpretations of glow in healing and in return obtain vital and conclusive feedback.

A detailed discussion was had on the processing steps for potential infrared detection. The wavelengths for emanations from healing wounds at human body temperature are very long wavelength, well beyond consumer camera detection capability. The conclusion was that there will be no detection of IR emanation.

Where IR is received by a smartphone camera, in the example of the domestic remote control, the wavelength is short enough to be detected depending on the exact optics of a specific camera, lens and bayesian filter.

Blood Supply |Bacterial Fluorescence

However, in the project photography there is a glow present, so where does it come from? A general news article explains (Hrala, 2016).

Foremost is the presence of blood supply around a healing wound.

Potentially there is fluorescence present. Bacteria gather in the region of a healing wound. When excited by an external light source a glow will appear in the visible spectrum. A Japanese research paper examines this in detail (Koboyashi, 2009)

Detection used a cooled CCD in conditions of complete darkness. With a prosumer camera, there is no detection of direct bodily emanation from a healing wound. Rather than emanation, an external light source excites the bacteria and produces fluorescence in the visible light spectrum.

Both of these effects are the likely cause of the glow that appears in the photo project images.

Bibliography

Hrala, J. (2016) You Can’t See It, But Humans Actually Glow With Our Own Form of Bioluminescencescience alert. Available at: https://www.sciencealert.com/you-can-t-see-it-but-humans-actually-glow-in-visible-light.

Koboyashi, M., Daisuke, K. and Okamura, H. (2009) Imaging of Ultraweak Spontaneous Photon Emission from Human Body Displaying Diurnal RhythmPLOS | ONE. Available at: https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0006256.

PHO705: Recombinant Rhymes and DNA Art

Project development: rhymes, art and naming of the photo project.

Oxford definition.

This post is an extension of the Recombinant Rhymes and DNA Art (McNamee, 2019) feature in the blog post, PHO705: Research Artsci, Communicating Science Visually, Computational Biology and a new Avant-Garde

The intention is to deliver something art-based (rhyme or graphic text or image titles) over the upcoming period between terms as noted in the Final Proposal. An intention is to experiment to discover if contextualisation and visual language can be built with Recombinant Rhymes or DNA Art.

The idea is to use imagination in selecting words like TELEOLOGICAL that contain DNA base letters ACGT and combine them for effect, perhaps making a video with a reading of a rhyme. Words are intended to be selected for their connection to narratives of the project.

Select from the following ACGT words for some connected meaning:

Base-words-ACGT

Examples:

  • Advocating 
  • Fracturing conflagrations
  • Countervailing 
  • Lethargic contagiousness

Interestingly, the validated list contains the terms Abstracting and Photographic.

Project naming

In short, “Motherline” is the name presently chosen. This is less politically charged than the earlier proposed project name “Matriarchy”.

Matriarchy like patriarchy has political overtones, so is not so attuned to the themes of the work.

Motherline is derived here from the post PHO705: Visual Language of DNA Testing and the terms:

  • Family Ancestry (autosomal DNA)
  • Motherline Ancestry (mtDNA)
  • Fatherline Ancestry (Y-DNA)

Bibliography

McNamee, A. (2019) ‘Art of Now Recombinant Rhymes and DNA Art’. A Whistledown production for BBC Radio 4. Available at: https://www.bbc.co.uk/programmes/m0002rkb

PHO705: Group Guest Critique 10 Dec 2019

Theme sets

Themes occur in several sets subdivided. First, are the now consistent outputs of the work, and second, the themes of visual narrative explored and third the set of the subject matter placed before the camera.

In turn, we have:

Out of abstraction, the theme set subdivided into

  • place as landscape/seascape/mountains of heritage and theatre of war;
  • ghosts ever more recurring;
  • depictions of inner/outer space.

Out of the physical and psychoanalytical, the theme sets are around language/communication and intent:

  • science mitochondrial DNA,
  • war,
  • the phenomenological – the weird/eerie/uncanny

Examples of the above can be found in this portfolio:

Portfolio by Michael Turner

There is the theme set of the subject and photography:

  • healing wounds,
  • museum (military and medicine),
  • family archive,
  • video (gaming and broadcast)
  • Generative art.

Examples of some of the above are also in this portfolio.

Portfolio by Michael Turner

In retrospect, this presents the analytical. To think in deconstructivist terms as in Derrida, it would make sense to home in on that which conveys the main feelings. There again Art Science (Artsci) as described by Arthur Millar brings scientific method back into scope. The latter demands more resolution by the artist. Millar points to the history of the avant-garde. The art world and gallery system had rejected impressionism and the likes of Picasso as surrealist. Artists then built alliances later their work being more established it became more widely accepted. Millar might argue the case for art-science as the new avant-garde.

In the case of accepting Millar, then the project proceeds as

Family Constellations

Family Constellations have allowed freedom from entanglement with ancestors and their narratives of loss in a war.

FMP Experimental

View the following as experimental imagery that is work in progress. This is not the end product of publishable standard at this early point.

PHO705: Week 9 Reflection

Bases and Ghost by Michael Turner

Position and Intent

The work is intended to be positioned within Modernism PHO705: Modernism. As abstract it may fit into the Art-Science avant-garde as a branch of Modernism.

The implementation is still open at an early stage. Developments in one direction are towards overlapping archive ancestry images of motherline and mtDNA glow images.

Motherline – Glow by Michael Turner

This is in the direction of Susan Hiller Aura and Falmouth painter Jake Wood Evans. PHO705: Artist Jake Wood Evans

To go ahead, work needs to be resolved. As these firm, vestiges are present in other approaches.

War imagery, either from Museum exhibits or from video archives footage. There is the style of Natalia Goncherova with angels and flying machines compressed into the frame in a very claustrophobic way (as in her lithographs).

Science, as molecular biology, animation and Generative Art.

Further influences begin with Albert Steiglitz and images similar to cloud formations. This is closest to my type of work of any of the above approaches.

by Steiglitz

There persists influence from Picasso, in breaking bounds then Rachel Howard in terms of the hidden brush of gravity abstract style.

Thoughts about Resolution

More wayward approaches need to be set aside where project intent risks being diluted i.e avoid any negative impact.

The strong influence going into the Final Major Project FMP has been to resolve the visual language to make the abstract accessible to the viewer. This was achieved in a summer exhibition although the martial narrative need not be enforced was a consideration.

Having just stated that though, the war theme is necessary otherwise we lose the linkage and orphan the themes of place foreign and theme of ghosts recurrent.

PHO705: Week 12 Reflection

The following were covered in Week 12/;

PHO705: Symposium – Good Picture 2019 “Imaging Revealed”

The Symposium was long-awaited (August – December), and in terms of the ‘How’ element of the major project Motherline. The impact of ancestral identification was tested in discussion with imaging science professionals. Fortunately, the basis of the project once more stands when the premise is tested against science.

The input received on the methodology of making acted as a precursor for ramping up image creation which during the break has now taken off.

PHO705: Recombinant Rhymes and DNA Art

Recombinant rhymes and DNA Art is approached as supporting art either in creating Exhibition context or as part of a book, or indeed both.

The scope was set as words containing DNA base letters ACGT from which ‘poetry’ might be created. Originally this was inspired ‘double-strand poetry’ from a BBC Art-Science podcast.

Since the word list (circa 1100 words) was created for DNA using ACGT bases a second and partly overlapping wordlist (circa 500 words) has been created for RNA using its bases ACGU.

The idea would be to create a spoken-word recording and contextualising graphics for exhibition atmosphere and book in turn.

The atmospherics of playing spoken word was experienced at the Tate Modern exhibition of Natalia Goncharova’s work. In one area, viewers were funnelled through a corridor space that linked two functional areas. The corridor had its own smaller-scale works on view. Playing in the background was a recording of a Russian speaker whose voice created a wonderful aesthetic effect.

Example Russian speaker recording from the Tate exhibition:

During the summer exhibition. the atmosphere was created by video (and for a while using audio) and proved effective as a trial.

PHO705: Group Guest Critique 10 Dec 2019

There were two students with our guest so a minimum group size on the day.

The other student went first whose work had already been reviewed amongst the cohort. Comment related to:

  • advice to drop text and focus on visual language.
  • a question about reverting to film process.

The recently named Motherline was reviewed and received reviewer comment. Questions related to clarification and comments were mainly of the checklist variety:

Was the intent exhibition? Yes. The summer exhibition led to a question about the level of comment received. This was recorded already within this blog. The reviewer wished to attend the Easter exhibition as the venue had been decided and dates needed to be pencilled in.