This exhibition opens 16th January 7-9pm.


Exhibition Dates: 16th January - 17th April 2015.


Photography:Art explores hand coloured images, landscape, sport and abstract photography featuring: Adrian Boehm, Kayne Clarke, Adrian Fretwell, Amir Ghazi-Noory, Zabadak Heda, Janine Kilroe, Stuart MacFarlane and Belinda Thomas.

Grantham in Focus Competition runs in tandem showing images taken within a five mile radius of Grantham.   There is also a tennis category with a prize of ree tennis membership for a year at Grantham Tennis Club.  Entry Details for Grantham In Focus



Adrian Boehm is an amateur sport photographer specializing in covering hockey in Ireland.  His pictures have been used by the Irish Hockey Association, the International Hockey Federation and numerous publications and websites in Ireland.  He uses a Nikon D4 Camera with Nikon VR 300m F2.8 Lens.


The time needed to make an image with analogue technology creates significance for me when approaching the world with a camera. The ground glass in my medium format camera allows me to see the world through the eye of the camera, reflecting its view onto a glass canvas for me to interpret before firing the shutter. It is this moment I am interested in as a photographer – the interpretation of what we see before we make the decisive click.

After forming a relationship with medium format and analogue processes I found it challenging to use contemporary digital technologies to produce bodies of work. However, Instagram provides a platform that I am happy to explore. Instagram is a freely available photography application for smart phones (and other devices with embedded cameras) that allow the users to present their images on a profile. Users can be private or public and can share their images with the use of a hash tag and @’ing (much like twitter). There is no upload limit thus rendering it a continuous feed of images if the user wishes to.

My smart phone camera and Instagram have presented a platform that has challenged my understanding of the aforementioned decisive click. Instagram allows me to explore the everyday in a way my medium format camera does not. The immediacy social networking thrives on is embedded in the making of these images, within seconds these images are taken and shared. By using this digital process the images I produce and share never get printed, never become tangible. However, by printing and framing this selection of Instagram posts – I can begin to understand how they are perceived in the physical world.


Photons and electrons are the materials with which I work.  My cameras are the tools with which I arrange and capture them.  More often than not, I will let them go.

My passion is to capture rarely viewed scenes, fleeting moments of interaction between light and environment, ethereal images of the British landscape, revealing beauty, form and feature unseen by many.  A misty morning, a lonely tree, a wave washing the sea shore.  Wherever the vista happens to be, the play of the light stirs up unexpected thoughts and emotions that I try to convey in my images.

My earliest images I created as a child using my father’s Zeiss Icon camera with Ilford 120 black & white roll film. I built my own darkroom in 1980 and progressed into the world of digital imaging in 2008, becoming a member of the Royal Photographic Society in 2012, and being published in 2013.

I have been influenced by many great talents: some of my inspirations include Charlie Waite, Chris Friel, Doug Chinnery, Valda Bailey, Chris Newham, David Noton and Joe Cornish, to name just a few.


Amir Ghazi-Noory is an artist who is based in Nottingham. He creates fun and whatever he wants.

For this exhibition, he has submitted an appropriated piece which was picked by Tate Collective, credited and displayed in Space at Tate Britain last year as part of All Glitched Up open call for BP Loud Tate: Code. Code explored how codes in language, fashion and technology shape culture, inspired by the displays at Tate Britain . He appropriated Peter Monamy’s, Ships in Distress in a Storm, c.1720–30 by glitching the image presented by Tate.


Janine Kilroe has created images for the last 30 years, initially as an Editorial Advertising Photographer commissioned by many international blue chip companies and for the past 9 years she has focused on creating a truly unique one off style of hand painted fine art photography, drypoint etchings and linocut prints.  Janine’s work is available in galleries throughout the UK.

Exhibited at the Royal Academy Summer Exhibition and The Saatchi Gallery, London 2013

Janine is inspired by what makes Britain. Its nature, its landscapes and coastal environments all of which she loves to explore. Janine’s view of the world, that’s hidden from our eyes, an unseen layer peeled back. Hand painting her photographs, Drypoint Etchings and Linocuts using a variety of mediums; pastels, watercolour pencils, washes and acrylic inks. All printed on British archival watercolour papers enabling her to subtlety select her interpretation of the original scene.

The feeling of movement and ethereal atmosphere is often achieved, using and hand developing experimental black and white films. Working with classic film cameras and lens such as a 1952 Leica M3, Wista 4 X 5 Field camera, Pinhole and digital cameras. Film creates an organic look and feel plus a wonderful tonal range for each subject. Janine’s images are intentionally timeless, therefore enabling a possible memory trigger for the viewer.

Janine’s craft conveys a captured unique moment in time. This captured moment in time can never be repeated. This fact fascinates Janine. To ensure the best workflow and consistent quality control all of Janine’s work is kept in-house from the pre visualisation of ideas to the final print. Janine uses British papers and materials whenever possible, PH neutral tapes, mounts and backing boards. This personal attention to detail and quality control throughout the creative process produces exceptional archival quality (out of direct sunlight 100 years plus) and finished craftsmanship.


Stuart MacFarlane, Chief Club Photographer for Arsenal Football Club is one of the longest serving members of the Arsenal squad.  An Arsenal fan himself, Stuart was given the chance to join the club officially in 2000. For this exhibition we are showing two of his photographs: Ramsey Celebrates taken at Wembley Stadium 17.05.14 on the final whistle at the FA Cup Final between Arsenal and Hull City, and, Walcott Goal taken on 01.01.14 as Theo Walcott chips the ball over Cardiff goalkeeper David Marshall to score the 2nd Arsenal goal at Emirates Stadium.  To find out more about Stuart take a look at his interview in The Usual Shutter Specs Blog.


My work revolves around human – animal relationships.  I feel a close empathy with the natural world understood through a deep awareness of the underlying tension which exists between animals and between humans and animals.   This dynamic interaction is often destructive and complicated because we share the planet.  Our treatment of animals ranges from their consumption to the love we bestow on our pets. I am also struck by the continuous cycle of hardships endured by animals in the natural world and their struggle for survival within an ever changing planet.

My work is multi-disciplinary incorporating video, performance and imagery.  I use materials in a metaphorical way: feathers, sticks, pins and latex which juxtapose the natural and the man made forcing the viewer to stop, think and empathise with these eternal tensions.


Welcome to The Alternative World!

Although I also make music and art, photography pushes me to find or recognise as much as create. The Alternative World is a second click down that route, an exploration of inverted or negative images.

It is as big and detailed as the world we’re used to but slightly weird and sometimes wonderful. It is a world of surprises where moments or structures suddenly assume significant forms.

I never cheat by changing the colours or superimposing layers, but a sense of composition is vital as I examine, crop and frame to make sense of this confusing world and present exciting but satisfying images.

Balanced somewhere between the chaos of the found material and my artistic intuition and sense of order, I hope the ordinary becomes extraordinary.