“I've got itchy fingers, for inky fingers...” /  by Shaun Armstrong

Taking my fingers, hands and the rest to a screen-printing workshop at the Inky Fingers studio in the depths of Hackney Wick.

Firstly, creds for the post title to band Yard Act, taken from my favourite non-album track Human Sacrifice. All links open in new windows.

As part of my ongoing artistic and personal development and plans to create unique prints from my photography, I took myself along to a day screen-printing workshop at the Inky Fingers gallery and studio, run by the dynamic due of Ricky Byrne (aka Mesh&Blade) and internationally renowned sweary dog-snogger and JaffaCake eater artist Dave Buonaguidi (aka Real Hackney Dave).

I travel up to London quite regularly, but the combination of the closed mainline railway meant the journey to Hackney Wick incorporated an unusual and new combination of car, parking, train and underground journeys plus an unexpected but enjoyable walk from Stratford. That and a double espresso meant I was well and truly unfrozen and alive for new ideas and experiences before I started.

I’d not screen-printed before but Ricky and Dave were engaging, informative, honest, relaxed-but-professional and supportive and made the whole day a memorable joy; from the lemon-drizzle cake welcome, to the careful packing up of our small edition of beautiful A2 prints on 400gsm paper stock and the help and banter in between. Despite being on the back of the draining culmination of the Voting Schmoting show launch, a day or so before.

The 2-layer prints we produced are quality items, not just souvenirs and I chose my ‘Rodeo Drive’ image which I thought would work well with a single image layer on a colour block. After a few dab tests I went with an orange background with purple image, which can be seen in the photos below. I have a couple of AP’s, one for home and a unique limited edition of 5 signed and numbered prints which will be for sale at some point (follow on socials or just get in touch!)

I’m not going to detail out the whole day, you can get the gist from the selection of images I took below, but the combination of straight-talking, technical nous from Ricky and honest art-business-life advice from Dave, was SO valuable. Thanks guys.

The ‘Rodeo Drive’ image appears in my book ‘USA: Black & White’ available to buy here.

SHADOWPLAY /  by Shaun Armstrong

A different perspective of fluidity…

Visits to art galleries can work on many levels.

We visit to see what’s there, what’s the new display; what someone has to say through what they’ve created and brought into a white space to inform, educate, entertain and challenge you. You know. The usual stuff.

In addition, I lapse into finding ways of observing the unexpected interaction between the exhibits and the visitors; the fixed and the constantly variable. 2 + 2 = 5.

Trickster Figures: Sculpture and the Body is the new exhibition (until 7th May 23) at MK Gallery bringing together 11 British artists breaking boundaries with sculptures that invite interplay and exploration and ask questions about our world and how there is growing fluidity in all things; from the natural environment to technology, to our own bodies.

However, an unexpectedly quiet day, with few humans, challenged me to explore the exhibition on a different level than the one I had expected or was expected of me. Perhaps the idea that interaction here was expected was counter to my normal desire to observe interactions that weren’t expected…

What drew my attention this time was the shadows. The counterpoint to the installations had a life and unseen display of its own, from angular to more fluid. Depending on your perspective…

“The historic or mythological “trickster” is often defined as a character who disobeys the rules and defies categories and conventions. The academic and philosopher Donna Haraway refers to tricksters as “wildcards that reconfigure possible worlds” I see the artists in this exhibition doing just that”

Jes Fernie, Curator Trickster Figures.

Artists: Saelia Aparicio, Alice Channer, Jesse Darling, Nicolas Deshayes, Kira Freije, Siobhán Hapaska, Nnena Kalu, Joe Namy, Harold Offeh, Ro Robertson, Vanessa da Silva

All photos ©ShaunArmstrong2023

MK Gallery (until 7 May 2023)

(see more At The Gallery)

Book : Luton Hat District: A Creative Cluster In The Making. /  by Shaun Armstrong

A beautiful and informative book containing over 120 of my original images has just been published following the practical completion of the first phase of Luton’s regeneration of its former ‘Hat District’.

I was commissioned by The Culture Trust, Luton from 2017 to 2022 to document the 5-year refurbishment, regeneration and transformation of a number of run-down former hat-making factories into vibrant creative workspaces, whilst retaining their important industrial heritage.

Visiting periodically, in liaison with the project team as various stages took place across the 3 main sites, I was allowed unfettered access to the buildings, both inside and outside as scaffolding allowed.

As I explored the spaces, alongside the more formal recording content of certain fixed perspectives, I was given a free rein to express the content, detail and nature of each space as I wished and the work taking place. This enabled me to observe not only the buildings in their widest space and location, but down to the finer details in the build and materials as they were and as they became, with all the stages of transition in between.

This body of work is now part of the permanent heritage archive to show how the built environment was cared for and reused.

The more abstract interpretations were curated into a series of prints by expert Matthew Shaul to form an exhibition known as ‘These Walls Tell Stories’ which enabled the public to visit and see the work. A series of limited-edition prints are available here alongside a signed copy of the book with a limited-edition print here.

This latest book has been written by The Culture Trust Luton’s Chief Executive and driving force behind the project, Marie Kirbyshaw, along with Heritage Officer Elise Naish, to tell both the heritage story of these hat factories and also the journey of the spaces and their future worth to the local creative community and beyond.

To see my work illustrate this story so extensively and lavishly is a real pleasure.

(All Images on pages below ©ShaunArmstrong)

Hipsquare: Vinyl Playlist #5 - SPLATTER UP! /  by Shaun Armstrong

Let’s get fireworky!

 
 

Nine tracks curated from my limited-edition vinyl collection, for your listening pleasure and enlightenment. This time… splatter!

Here are the gorgeous splatter vinyl albums from which the tracks come from: (all photos by me from the original media)

Hitting 2023 with a big, fat SPLAT!

Vinyl

Well, here we go. The first foray into more creative wax pressings after a couple of teasers in Playlist #4. Aren’t these just beautiful? And even more so ‘in the flesh’ so you’ll have to go out and grab your own to experience that. The pink on Panic Shack almost hurts it’s so bright.

I’m not sure whether I prefer the opaque versions of the mix, like Sigrid, or ones that have colours run through a clear base. Each has its own merits. Shire T probably my favourite opaque and Beabadoobee on clear.

As with all my albums, none are acquired where I don’t like the music. Obvs. So have a listen and make up your own mind on that. This chat is all about the physicality of the medium.

Covers

Bit of a naive, scribbly vibe with a number of these. Perhaps the reason why splatter is the chosen colourway.

But what about the Shire T artwork? Nothing scribbly about that one, unlike Beabadoobee which is too far off the scale for me. Cracking vinyl through.

Bucking the trend are Baba Ali and Dream Wife where a strong B&W photo takes the lead. The latter a cool photo only, no words. Proper Hipsquare 🟧

Bonus

Good crop of signed covers here 6/9 (Dream Wife + limited signed Zine).

Feel free to throw a comment or question on these below or follow and interact on the Hipsquare Instagram for vinyl content and my unique photography for album covers.

Check out Hipsquare: Music Photography Gallery for your next album

See all the Hipsquare Vinyl Playlists (new window).

Hipsquare: Vinyl Playlist #4 - Brrr...Feeling Blue /  by Shaun Armstrong

More About Hipsquare Playlist #4

 
 

Read more about Hipsquare: Music Media Photography by Shaun Armstrong

See all the Hipsquare Vinyl Playlists - nine tunes drawn from my limited-edition vinyl collection, curated by a theme for your visual and listening pleasure here (new window)

Here are the blue vinyl albums from which the tracks come from: (all photos from the original media)

Have you warmed up yet?

What did you discover, like or not so much?

Vinyl

Cool mix of blue-tones, including a lovely marble on Hop Up by Orlando Weeks and the very limited blue/white blend for the Wolf Alice album Blue Weekend (obvs). Although they could have easily swapped wax for a better fit with the album cover. Just saying.

The Infancy vinyl by excellent The Ninth Wave (now on hiatus doing solo projects) is Part 2 of a two-album release, Part 1 being red. Part 1 came in the gatefold cover and then Part 2, released later, slotted into the other part of the cover. Not seen that before or since.

Time Bend and Break The Bower by Sinead O‘Brien is a Dinked Edition pressing of her debut album. So good to see after I saw her as a “plus” artist on the Dry Cleaning tour of 2021 before they blew up. File under genre-breaking.

This playlist features the first and maybe last inclusion of a retro vinyl, the quite limited early blue pressing of Outlandos D’Amour by The Police in 1978. I have everything they released on collectable vinyl but Masoka Tanga is such a quintessential but lesser-known Police track, with all their early hallmarks turned up to 11; Sting’s jazzy bass and falsetto vocal, Summer’s choppy angular guitar and Copeland’s reggae backbeat, cymbal work and a smattering of octobans.

Covers

This set brings photo-art forward, single images taken to another level in terms of cropping and pattern, something I like/prefer rather than photoshop montages. Couple of straight artworks, Hope Up is on a beautiful matt (not reverse) board and the inside of the cover (not seen this before) is red to match the dot. Quality.

The Wolf Alice cover is lenticular and flicks between band poses; aficionados will note this image shows the to-camera rather than the default away from.

Bonus

Artist-signed copies of Hop Up and Time Bend and Break The Bower as is Phantom Isle bought at the album launch event at The Black Prince in Northampton in 2022.

Feel free to throw a comment or question on these below or follow and interact on the Hipsquare Instagram for vinyl content and my unique photography for album covers.

Hipsquare: Vinyl Playlist #3 -“You Know When You’ve Been Tango’d” /  by Shaun Armstrong

Autumn Colours No.3 - a 9-track Digital Album curated from my limited-edition collectable orange vinyl records.

Learn more about Hipsquare: Music Media Photography by Shaun Armstrong

 
 

Welcome to my next Hipsquare: Vinyl Playlist! (Warning: Explicit Lyrics)

Nine tunes drawn from my limited-edition vinyl collection, collected by a theme for your visual and listening pleasure (more about this here - new window)

Here are the orange vinyl albums from which the tracks come from: (all photos from the original media)

So, what did you think?

A few spitty lyrics and some jazzy, afrobeat, psych-funk flavours after the earlier lightness.

Vinyl

Orange seems to bring less variability than some colours, favourites being the clear Lucozade tones of Sleaford Mods limited edition Spare Ribs and the Claude Cooper Myriad Sounds is straight off the Dynorod dayglo palette. Pic doesn't do it justice.

Covers

Mainly graphic art here, but again Sleaford Mods Spare Ribs hits a great balance between the two (less is more) and the first here with a reversible cutout to the inner, should you get fed up with Jason Williamson. Who would?

Pip Blom’s Welcome Break also has a reversible cut-out with this cover version and lovely matte board too. And stickers!

Warm Digits Flight Of Ideas (Dinked Edition) is mirror-board. Thanks to Adobe Perspective Correction for getting me around that photo.

Bonus

Our Girl’s Our Girl is signed as is Pip Blom’s Welcome Break on the reverse to avoid spoiling the artwork. Nice chat with the band as they sat on the verge outside Esquires in Bedford earlier this year (2022) at Ceremony 2 all-dayer.

Feel free to throw a comment or question on these below or follow and interact on the Hipsquare socials (Instagram | Twitter for vinyl content and my unique photography for album covers.

Hipsquare: Vinyl Playlist #2 -“It’s not easy…” /  by Shaun Armstrong

Autumn Colours No2 - a 9-track Digital Album curated from my limited-edition collectable green vinyl records.

Learn more about Hipsquare: Music Media Photography by Shaun Armstrong

 
 

Welcome to my next Hipsquare: Vinyl Playlist!

Nine tunes drawn from my limited-edition vinyl collection, collected by a theme for your visual and listening pleasure (more about this here - new window)

So, in the words of Kermit the Frog…

It's not easy being green
It seems you blend in with so many other ordinary things
And people tend to pass you over
'Cause you're not standing out
Like flashy sparkles in the water
Or stars in the sky

But green's the colour of spring
And green can be cool and friendly-like
And green can be big like an ocean
Or important like a river
Or tall like a tree

Wise words from everyone’s favourite amphibian.

Here are the green vinyl albums from which the tracks come from: (all photos from the original media)

So, what did you think?

A few bigger hitters here than my usual more under-the-radar, indie finds but Taylor and Billie are supreme songwriters and these albums are strong.

Some great colours across the green spectrum from deep translucents to light opaque tones.

All of these are single edition colourways (rather than the current convention of picking a range of colours from the album artwork for a range of versions) except for Gaz Coombes World’s Strongest Man where this is the lesser-spotted water-green version to the vibrant title-pink. And which other album..?

A nice mix of cover art too. This is Taylor Swift’s Stolen Lullabies version of Folklore where she did 8 different cover combos to go with the various vinyl variants. And 8 different CD’s 💰

In terms of added interest, Peaness World Full of Worry is a signed version as is Liz Lawrence’s Avalanche. The inner is shown through a hole in the front sleeve and she kindly signed the back of that which you see when you take the inner out :)

Feel free to throw a comment or question on these below or follow and interact on the Hipsquare socials (Instagram | Twitter for vinyl content and my unique photography for album covers.

Hipsquare: Vinyl Playlist #1 -“Hello Yellow” /  by Shaun Armstrong

Autumn Colours No.1 - a 9-track Digital Album curated from my limited-edition collectable yellow vinyl records.

Learn more about Hipsquare: Music Media Photography by Shaun Armstrong

 
 

Welcome to my first Hipsquare: Vinyl Playlist!

Nine tunes drawn from my limited-edition vinyl collection, collected by a theme for your visual and listening pleasure.

This is the first of three autumnal-themed playlists being launched together to start this thing off - next up green and orange (obvs) - more sexy splatters, splits and marbled to follow! You can find all of them together here...

When I run out of vinyl colourway options I’ll get creative with album artwork, record-label or other randomness.

Here are the yellow vinyl albums from which the tracks come from: (all photos from the original media)

So, what did you think? Any bands/artists new to you?

Did you like the progression from more ethereal to dancing-trousers territory?

Nice variation of translucents and opaque tones in the pressings. I think I prefer the more solid colours; the mustard one of Sheafs Happy Medium works well with the album cover as does the brightness of the Selecter’s Daylight.

Steady cover game here, with powerful abstracts (Liela Moss / WMC) but the photo ones a little too staged for my liking, except Geese which is bonkers. Gawd knows what Billie Martin was thinking though…

In terms of added interest, a few signed copies in this batch including the hardback photobook/signed artcard version of Dua Lipa’s, Future Nostalgia, plus Liela Moss's Atoms in Me came with a separate signed art print of the cover. Nice. I also have Working Men’s Club in the hyper-limited ‘RAW’ format and Resident Records blue. More about that on another occasion..!

Feel free to throw a comment or question on these below or follow and interact on the Hipsquare socials (Instagram | Twitter for vinyl content and my unique photography for album covers.

Hipsquare: Music Media Photography /  by Shaun Armstrong

Hipsquare is my side-project about new photography for music media but will also cover vinyl collecting along with the music I like to listen to and see live.

 
 

This post is a bit of background about me and my vinyl and music-related journey to date, rather than photography, so feel free to jump straight to the Hipsquare: Music Media Photography page where you can find first images and links to mixtapes curated from my limited-edition vinyl collection.

Vinyl

Most folk seem to be influenced in their music and or music collecting by their parents. Mine, being from a slightly older wartime generation, were ‘radio people’ or going to dances with live music (fair enough) so I didn’t really have a stock of choice 1960’s vinyl to build on. Although somehow my Dad acquired Please Please Me, the debut album by some perky Liverpudlians, on reel-to-reel tape, in 1963 which stands at arms length from his big-band swing compilations. Probably concluded all this modern stuff wasn’t for him.

Selection of my green vinyl, used for Hipsquare Playlist #2

My own dive into vinyl started (natch) in my teens. Looking back, I wish I’d been more into collecting from bands like Joy Division, Talking Heads, Gang of Four, The Cure and The B52’s whose music I liked and do more so now, but never really bought vinyl as I wasn’t that cool. Or as dedicated to ‘a look’ as you needed to be for punk, indie or new romantics come to that. Missed opportunities. Or saved graces.

I was ‘The Police guy’ at school. A band who I took to in late 1979 and proceeded to buy my first vinyl (Rubber Ducky by Ernie and Bert off of Sesame Street aside) - the FOMO of the collector starting to form at this time, so whilst not at the level of ultra-nerd, of international pressing variants and cover misprints, I have pretty much everything they released in all the various wax colours. I was an early(ish) member of Outlandos (The Police Fan Club), saw them live quite a few times and even took up bass (bit of Sting hero worship, not going to lie). All things for a separate blog post(s) in due course. Bet you can’t wait.

Otherwise, I bought vinyl bits and bobs, 7” and 12” reasonably regularly (cause that’s how you listened to your music back in the day, kids) eventually getting a Sony stack system which I still use with B&W speakers. Besides bursts of intense fandom collecting everything (The Police, Belinda Carlisle (cause, you know, ‘the music’) and more recently Yard Act (yes of course I need 10 versions of one album - they openly and shamelessly flogged (literally) this already brilliant debut to No2 and I was happy to let them take my money and run)), I only really bought what I heard and liked. Still do. And if that’s a very limited, collectible, funky coloured variant then all the better. Sorry, wallet.

The arrival of the CD heralded the end of the vinyl format buying for me, for all the usual reasons of practicality, until probably COVID lock-down, life-stage and the general resurgence of vinyl as both a listening option and a collectible format. The CD years were not that exciting content-wise truth be told, probably as previous life-stage things drew me away from music.

So as the circle of life thrusts me towards my ‘second youth’ or ‘getting old disgracefully’, I’m really getting back into my music which, whilst still a broadish church, centres around listening, seeking and collecting limited edition debut albums from new indie/post-punk/electronic/shoegaze/alternative artists. With, it seems, a leaning towards strong female vocals but that’s not intentional. I just prefer a higher register for vocals and girls just have a stronger intent really IMO.

I’m so pleased I can say I am definitely a Radio 6 Music person and not a Radio 2 (I like it cause I’ve heard it before) person. Thank the aural Gods.

I use Spotify but only as an extension of physical content that I’ve already paid proper money for, or a bit of investigation when looking to buy, so I can live with that. To that end, part of the Hipsquare project is creating album-length Spotify playlists drawn from across from my coloured and collectible vinyl collection (Mellow Marble, Punky Pink etc.) which I’ll be sharing links to on social - you may even find something new you like! Each playlist will come with a blog post and my photography of the vinyl and the covers etc.

I’m also a big fan of Dinked Editions and Blood Records for their work in developing and producing hyper-limited collectible vinyl. Again I only buy what I really like which is just as well pocket-money wise as they’re all lovely pieces of artwork.

Otherwise, I tend to collect primarily from artists directly, labels, Bandcamp and independant record stores such as Resident, Reflex, Assai and locally, Slide, if postage not required.

Overall, and it’s a bit of an overused cliche I know, but I really do love the extra visual and physical aspect to the music I love to listen to and the whole tactile package-opening, handling, reading, storage, access and playing process. And the collectable stuff usually has extra interest too, from unique covers, creative wax mixes, signed artwork and added extras - in my collection the Dinked from Gemma Cullingford has a packet of seeds, the Raw edition of Working Men’s Club debut album, a flag and O.M Days Moon Edition by Raf Rundell, some ashes from a Moon Ritual ceremonial fire. I shit you not. But these are all tangible artefacts (I love a tangible artefact) and they’re fun to acquire and explore and keep. And great music, obvs.

And last but not least there is sometimes absolutely blinding photography and artwork used on covers, inners etc. which like most artwork is generally better enjoyed large. Sorry, CD’s/cassettes/digital

Live Music / Photography

Early gig activity for me was a little like my vinyl collecting. Not as uber-cool as I’d like and a bit fan-related but I saw a few memorable concerts.

One of the best was The Police at Gateshead Stadium in 1982. This was IMO the pinnacle of their musical prowess before it all went down the pan in 1983. Their achievement across 5 albums in 5 years, from a bootstrapped van tour of the NE USA seaboard in late 1978, introducing the audience to each other on one occasion, to headlining Shea Stadium in 1983 to 70,000, as the biggest band in the world, without ever being a support act, hasn’t really been eclipsed.

Me and a few others, The Police, Gateshead International Stadium 31st July 1982. Image: Watal Asanuma from book A Visual Documentary By Miles, 1984.

Whilst they headlined Gateshead, their main support was an up-and-coming 2-album Irish band called U2. There were a few fans who’d made their way down the front for this bit and who were impressed by my singing along as I knew the songs having bought those two albums. I’d bought them after having seen them as a 1-album band in a dusty field near to my school in Bedfordshire the summer before at the ‘Greenbelt Festival’ - they only did a few tracks and I believe borrowed instruments, but made quite an impression. They did OK after that I think. And Bono’s lad is stirring up quite the storm at the moment with his band Inhaler. What goes around, comes around etc.

I’m getting back to more gigs now. The smaller and more intimate the better. Again, missed out on Esquires in Bedford (my hometown) in the early days but it’s a brilliant venue and one of those rare “I saw them there before they blew up” places. Stoked to have caught Yard Act, Dry Cleaning, She Drew The Gun, Sorry, Pastel, Regressive Left, Lottery Winners, Sprints and English Teacher over the last few years. And Estrons who I loved (clear (signed), green and orange/black split vinyl versions if you’re asking) but who took a different path and broke up the following week…! And Gaz Coombes and Orlando Bloom doing excellent solo, stripped-back, performances

I’ve created quite a bit of live performance photography, mainly through 10+ years of documenting IF: Milton Keynes International Festival. The trouble with photographing properly is that it takes 100% visual and creative head concentration, to the detriment of other senses and feelings, so it’s difficult to really enjoy the music or comedy or whatever. Take heed folk with their phones constantly out at gigs! Therefore besides the odd brief phone pic/vid for memory’s sake, I don’t tend to photograph at gigs I go to for the music now.

One I did photograph though was the mercurial Gary Numan on his Savage tour. I’d got chatting with his Tour Manager and member of the excellent band Nightmare Air, Dave Dupuis, at an intimate warm-up rehearsal (15 people) for the Savage tour - and he knew Olly Betts, drummer with the brilliant The Duke Spirit, who I knew from a family connection (Six Degrees of Separation and all that) and he kindly agreed to sort a photo pass for me (I’d bought a ticket anyway). I’ll do a post and gallery at some point…

What is Hipsquare Music Photo?

I have one or two photos (!). Some of which I believe would make great square, cover artwork and I want to engage with and work with musicians putting out new material at any stage of their journey in ways that builds in a value exchange but has little or no cost to the artist, if just starting out, when funds are tight.

So I’m building Galleries that are ‘media-ready’ and invite musical artists to collaborate on projects. Whether this a single image for a new release, or the basis for a full new project with a range of photography (see main website for my style and visual voice) I’m game for a chat.

Follow on social for new images and updates, music and vinyl collecting chat, performance photography and playlists curated from my collectable vinyl collection and the like!

Hipsquare on Instagram

Shaun Armstrong

😎🤘🏼





Vivian Maier "...I see, I see, I see" - MK Gallery /  by Shaun Armstrong

Reflections of Vivian Maier: Anthology - photography exhibition at MK Gallery.

All photographs ©ShaunArmstrong2022

As a documentary photographer, I’ve admired the work of Vivian Maier since she was ‘discovered’ in 2007, along with a fascination in her story, both before and after her work was revealed. From John Maloof’s award-winning documentary Finding Vivian Maier to attending an exhibit and talk by her biographer Ann Marks at PhotoLondon2019, along with reading Ann’s book Vivian Maier Developed upon its recent publication.

So the arrival of the first UK show of a comprehensive Vivian Maier Anthology at my local contemporary gallery, MK Gallery, gave me an opportunity to view much more of her photography up close in a dedicated setting, along with other supporting artefacts and media. This included some taped recordings of her speaking, which ironically, was a highlight for me albeit it was not visual. More of that later.

All photos in this post are unstaged reportage from my first visit (I didn’t get the memo to wear orange but I’m glad some folk did) - if you want to see Vivian Maier's actual photos do buy a book or better still visit MK Gallery www.mkgallery.org - until 25th September 2022.

So, brief background; Vivian Maier came from dysfunctional French heritage to live and work as a nanny in New York and Chicago in the 1950’s to 1970’s. She was also a prolific, gifted, but essentially amateur, despite commercial aspirations, street photographer, who captured all manner of the quotidian with insight and aesthetic.

Her core story is that her work was never really discovered as such until after her death at age 83 in 2009, and even then a considerable volume was never even developed from the original film. And therefore all unseen, even by her. It was only the chance purchase of boxes of ‘unknown’ negatives, film etc. at an auction by a young artist (John Maloof) in 2007 that really got the awareness started, although she had passed before the connection was made and any opportunity to involve her had passed also. More info on the story on Wikipedia. or in Ann Mark’s book - link above.

Why my interest?

Viv and I. Gonna need a bigger hat…

Besides the photography and the romance and intrigue behind her enigmatic story, before and after discovery, what really draws me is what photography meant to her. I think because I see parallels in my own personal relationship with photography. Of how, when you’re in a state of flow visually, you see images everywhere, almost instinctively and you get a hunger for it. In an instant the intersection of subject, line, colour, contrast, shape, texture, expression, movement, light, emotion, reality. But you do it for you; for the split-second satisfaction of both seeing that image and recording it ‘to keep’. And then it’s gone. But it hasn’t. It’s more journey than destination.

This is what I feel is overlooked in the Vivian Maier story. Her keeping the work to herself was not due to her being inheritantly shy, or that she didn’t have funds to develop the film, but that it was just part of her way of moving through life and the satisfaction it gave her of itself, to the point that she didn’t even need to develop the film to see the fruits of her ‘moments’ or risk having to self-critique which is The Photographers Curse. She knew. And that was enough.

What about her photography?

Paper.

It’s good. Some of it (that we see) is very good. An element is exceptional. But with an estimated 140,000 images shot of which the majority weren’t developed and only 3000 or so were ever printed, there is either a considerable amount of good stuff left or possibly, with just some time, technical skill, an exceptional eye, and a decent camera you’re going to get some keepers at that sort of shot-rate.

Also, the other mainstay of the ballooning interest in her photography is the content; the sheer volume of day-to-day life around the cities of mid-century New York and Chicago which wasn’t really documented with the same vigour, diversity and comprehensiveness she brought. They are images of a golden, highly visual, time and this adds to the broad interest, quite distinctly from her actual capability and personal story.

What makes her work extra special, in my opinion, is that she does have ‘the gift’ which I believe defines any good photographer; the creative-sight as I described earlier - a sixth sense to see or anticipate a moment as it unfolds and capture it with panache and instinct in equal measure. Her ability to do this with a film camera and retain the quality that she did underpins her technical skills, but she did mix with professional photographers at stages throughout her life and had aspirations to make and sell postcards, so she had chops. But I’d be super interested to see the other 137,000 images.

Creative-sight. The ability to see, anticipate and capture a moment without staging.

Vivian Maier the person?

Quite a lot has been written about how she was private, lonely, shy and/or poor and these were the driving forces behind her story and photography. I’m not so sure. I agree private, but by choice with whom she wanted to interact with - the other aspects not so much. She approached strangers in the street for certain portraits, found ways to access buildings for images and was not shy to enter crime scenes, celebrity gatherings alongside press stringers and areas of the city that may be considered ‘risky’. She also had a proactive, engaged and valued relationship with her young charges. These are the skills of a confident and self-aware person, not a shy one.

She was also a hoarder, particularly newspapers and magazines which built up significantly as she aged and I suspect the main reason for her moving from jobs with regularity. Parents don’t like weird folk around their children and whilst not enough to give her a bad reference, I suspect this was a driver to ‘help her onward’. She had around 8 tonnes of material in storage when it was auctioned off due to fees not being paid; not because she didn’t have the money necessarily (via Ann Marks) but probably because it slipped her mind or she frankly wasn’t that bothered in the final analysis. If she wasn’t bothered to develop her film, for the reasons I’ve suggested, it was no great shakes to lose them - her enjoyment was at, and in the moment of, taking the images for personal challenge and enjoyment.

Portraits.

Other Multimedia

This anthology is also really interesting as it presents other media and artefacts in addition to the photography. I think, like many photographers, she liked a bit of tech, experimenting with new kit in still and moving image, and audio.

Her Super8 cine footage is blurry and grainy and a little stream-of-conscious but, like her photographs, documents daily life from a time past and this brings charm and interest now, that would not have been the case necessarily at the time. I think Vivian generally had a voyeuristic approach to people and, with her creative-sight and a new toy, was visually fascinated by different ages, peoples’ shapes and clothes and with film, their movement. This is what I see in her films; it’s almost surveillance-like.

One of my favourite parts of the exhibition was, via a ceiling-mounted ‘sonic hairdryer,’ a looped piece of audio Vivian recorded on tape with the children she was Nanny to; asking them questions about themselves, their family and their aspirations in her gentle French-tinged American accent - listening to her voice made her come to life and anchored all that I had read about her, her photography and my view of her. I heard nothing but a relaxed, smart, humorous, self-confident and engaged human.

What did strike me though was her reactions to the answers the children gave; she says “I see” almost 30 times and sometimes, “…I see, I see”.

Now I may be making too much of a leap here but in a way this sums Vivian Maier up, there is no complexity or mystery to her situation, photography or motivation. She just ‘sees’. All the time. This was her gift to herself primarily and we’re lucky to be able to see her images at last.

PS

I have a real problem in exhibitions in that I find myself constantly distracted from the works by other visitors and how they interact, move and present themselves. And want to photograph these moments I see, for shall we say, a little ‘Vivian Tingle’.

The images throughout this post follow this theme and there are a few more below. I also have a gallery of such images (MK Gallery is a rich and local hunting ground) which you can view here.

“I see…”

‘Touch’ - photography for Bedfordshire Hospitals NHS Foundation Trust community art project. /  by Shaun Armstrong

I’ve had the privilege of supplying supporting photography to a HM The Queen Platinum Jubillee-funded community art project that took place in two local hospitals.

All photographs ©ShaunArmstrong2022

The ‘take heART’ art and wellbeing staff-led group within Bedfordshire Hospitals NHS Foundation, along with Creative Community Producer and all-round dynamo Kayte Judge, developed a project to give back; commissioning artist Anne-Marie Abbate to make new artworks as the basis for wall-art installations whilst also delivering creative staff workshops and a flash-mob distribution of thank-you gifts that acknowledged the importance of ‘human touch’, especially given the recent challenges of the COVID pandemic.

Inspired by the poem ‘These are the hands…’ by Michael Rosen, Anne-Marie’s artwork considered human touch and was based on microscopic images of touch receptors in the fingers. From this idea, she created pieces of handmade artwork using paper marbling, sewing, applique and other crafting skills.

Anne-Marie Abbate

I was commissioned to produce highly detailed and defined macro images of the artwork: my selective artistic details of trial pieces for branding and promotional materials and the final pieces so they could be blown up from their original c30cm size to over 1.8m for high-impact wall installations, whilst retaining the intricacy, depth and details of patterns, threads and tiny beads.

These images were then printed and mounted in prominent public corridors at Bedford Hospital and Luton & Dunstable Hospital, along with the poem and framed original artwork pieces.

Installation - Bedford Hospital

I also documented the free on-site workshops where staff, across all parts of the hospital, could drop in and try their hand at the techniques used in the artwork and I focused on ‘hands at work’.

Sheena McClaggan and Rachel Chater (caught sneaking a Tunnocks!) - NHS take heART collective

The whole project was a tremendous success with some great feedback and strong feelings of fun, warmth, gratitude and love all around.

I very much hope to be working on similar projects in the future.

Acknowledgements:

Anna-Marie Abbate - Artist

Kayte Judge - Collaborative Community Creative Producer & Fundraiser

take heART leads - Sheena McClaggan and Rachel Chater

Workshop Poets - Cameron Stewart & Satwinder Kaur

Arts Council England Jubilee Fund is made possible thanks to Lottery Good Causes. Administered by UK Community Foundations

Further supported by NHS Charities Together.

School project funded by The Culture Challenge, Bedford Creative Arts and run by Katie Allen.

Gifts/Donations: Walter & May, Number 14 Ampthill

Kusamazing? - Yayoi Kusama at Tate Modern. /  by Shaun Armstrong

Images and thoughts from a recent visit to the Tate Modern to see the Infinity Mirror rooms by Yayoi Kusama.

All photographs ©ShaunArmstrong2022

Yayoi Kusama, Tate Modern - April 2022

I first came across the name Kusama in 2010 as a result of the so-titled 10” EP by The Duke Spirit in 2010 as the Japanese multi-media artist was a muse to lead singer Leila Moss. Whilst I’d seen some of her polka-dot work over the years I thought I’d find out more when Tate Modern opened an exhibition last year.

The Infinity Rooms opened in May 2021, but with Covid impacts and an unprecedented ability for tickets to sell out months in advance, even for Members, a visit had been a while coming. The exhibit is now in its third block of extension and now sold out until September 2022.

Having seen a few images of the main room “Filled with The Brilliance of Life” and it being described as “one of Kusama’s largest installations to date” I was expecting something grand that I could immerse myself in and be transported to otherworldly planes of reflection (none intended) and contemplation…

Filled With The Brilliance of Life. Image ©ShaunArmstrong

You get two (it seems less) ushered-in-and-out minutes in an approx 5m x 5m box, it may be less, with a few other folk. Oh, and mind where you step.

No, really.

Well, to be fair you get two minutes in two 5m x 5m boxes as the exhibit (in one room) also has another mirror space “Chandelier of Grief” worked on a similar basis which I enjoyed (not really) with a young couple and a toddler.

The effect of the lights and mirrors to create the infinite patterns you expect to see is very clever in such a tight space but the, unfortunately necessary experience-management, coupled with my inability to not be inspired to photograph artwork spaces, meant it was all over pretty quickly. I could have spent a long while - this was one installation where a VR headset, some headphones with paired audio and a nice chair would have made all the difference.

The objective and sensibility of what the work aims to communicate and challenge is very much understood and appreciated but neutered through the viewing process, in my opinion.

To be fair you can go around and queue again, as much as you like, not that this is made overly apparent, but I never felt that ability to engage with an immersive artwork or space like I hoped I would. Twice was fine.

In addition to these spaces, there was some film and photography on the long and extraordinary life of Yayoi Kusama which was enlightening. Her ability to stay living (just) close to the edge of mental health whilst producing many ground-breaking works over her 90 years is indeed amazing.

The visit, as always, brought more opportunity to add to my At The Gallery project, observing the interplay between visitor and visited, not only at the Kusama exhibit, but the new and extensive Surrealism Beyond Borders exhibit and around Tate Modern generally.

Cleethorpes in Winter /  by Shaun Armstrong

Photography from Cleethorpes on the North Lincolnshire coast.

I’ve never been to the North Lincolnshire coast before, but with my daughter having moved there for work and the threat of super-fresh fish and chips on the cards, well why not.

Despite it being bitterly cold, I really enjoyed the quiet, off-season, lots of things closed, slightly faded air in Cleethorpes that comes with so many seaside towns in the UK. And as I live as far as you can get from the sea in Britain, it’s refreshing in other ways.

And whilst I quite like fish and chips in paper outside with a view of the sea (it’s the law normally), this was not that sort of day. So without the need for a better excuse, it was time to introduce my daughter to the joys of “sit-down indoor fish and chips”.

We ventured into Steels CornerHouse restaurant which despite its less-than-ideal “Sports Direct” banner branding outside, revealed a step back in time inside. Lovely old signs, little booths and tables, waitresses with grey hair, pots of tea in ‘70’s metal teapots and a plate of bread and butter to accompany the best haddock and chips I can remember.

No shots of food to see here though. I made a few photographs that I hoped captured the look and feel of the day. And a lone airman.

I liked Cleethorpes and will return.

Goodwood Road Racing Club - 79th Members Meeting 2022 /  by Shaun Armstrong

Photography from the GRRC Members Meeting 2022. All photographs ©ShaunArmstrong

I’ve been going to the Goodwood Festival of Speed since 2002.

2022 was my first Spring visit to the Members’ Meeting as a full member of the Goodwood Road Racing Club.

I love getting up close to the cars, which these events allow you to do. To experience the noise, sounds and smells and see the details of the machinery and liveries; from the classic to the modern to the iconic.

And to see owners and famous drivers, past and present, enjoying the rare opportunity to let loose on the track, regardless of the vehicle’s rarity and value.

And to photograph. Sometimes events are an inspiration for my ArtAutoArt but with the Members’ Meeting, which was as much a social event, to capture the moments of the day; trying to be in the right place at the right time.

Alongside some great wheel-to-wheel racing, static displays and hospitality in the sunshine, this event saw the launch of the T33 by legendary designer Gordon Murray, a display of F1 cars from the V10 era and an amazing collection of Porsche 956 and 962 Group C prototype sports cars.

It was a great day!

All images shot with Fuji x-Pro2 and 23mm lens or iPhone 12Pro and edited in Adobe Lightroom.

What’s new in 2022? /  by Shaun Armstrong

It’s been a funny old two years…

The C-Word

Besides the root and branch disruption, Covid had pretty much passed me and my family by (youngest daughter aside) until last month when it gave us all a sharp kick-in-the-teeth.

But, as many have highlighted, the long-term stay-at-home regime and a forced reset of life brought fresh eyes on who and what matters most, the passing of time and the small things. It brought opportunity, flexibility and joy amongst all the uncertainty. And this will inform the way forward.

Work / Life?

My work since 2009 has revolved around my creativity and delivering that for clients in the form of business photography solutions. Building image libraries for marketing and comms, documenting live events and office artwork; my own creative work was always broadly separate and distinct. Images for your needs. Images for mine. Commercial work. Artistic work. With some overlap obvs.

From the very early days (2009) there has been this internal challenge as to where to focus effort and motivation. Folk would say “be known for one thing” “it’s too much effort to concentrate on depth as well as breadth” etc. but I’ve always enjoyed doing fresh and different things and I lose interest with any degree of rote and repetition, whether that’s at the outset or evolved. And that’s not always a constant. Mmm….

The enforced downtime gave me time to think. And to procrastinate. I don’t mind change and working in a loose framework (I actually prefer it and it stops me butterflying about) but any effort to see and think and plan through the changes as they unfolded, and changed, and changed again, false lights at ends of tunnels led to a “fuck it” mentality. Let’s just take the ride and see where we end up.

The family being at home (my workspace) was buggering up my home/work mental life balance. But it was also an absolute joy and gift as our kids were both essentially “leaving home” by some physical distance in late 2021 and I could see them and my lovely work-from-home wife more. The girls have now gone and so are our beloved family pets of eleven years who both popped their fluffy little clogs during “The Vid”.

Life -> Blender -> Frappé.

This stuff adds up.

Photography…

More content. More specialization. More voice. More engagement. More cowbell…

The prime focus of my time will now be my personal photography and building my voice and hopefully reputation. I love the work of Magnum and see their documentary work as an inspiration; exploring themes and capturing moments in a style I know I have in me. Even if the voice lacks curation and cohesion at the moment.

I also want to express myself more; blogging on photography, exhibitions, art, events, books, and the like, actively sharing my views and opinions and expressing words and well as visuals, even if they’re contentious. I think I’m past worrying what people think. I like words; I’ll probably gas on too much but hey, you can choose to read it or not, right?

Photography Projects

I’ll be focused on the following core areas but with an always-open eye to any new and exciting opportunities to work with interesting people and projects doing creative and unique things.

People + Place

Visiting new or changing places and seeking both aesthetic and abstract imagery to document and represent what I see; the landscape, the built space, the people and the details within.

I’ll also try and flex my artistic muscle a little, considering themes and ideas first and then using my photography to represent that. You know, like a proper photographer.

I’ll aim to produce online galleries and consider books, prints and exhibitions whilst bringing my work to the attention of curators and publishers, to really engage and grow. Feedback and challenge to be welcomed.

Follow on socials below for people and place photography, artwork and general photo/art/culture content.

Shaun Armstrong on Instagram | Shaun Armstrong on Twitter

 

I’ve started collecting vinyl again. Mainly limited editions of new indie bands, debut EP’s and LP’s in coloured vinyl. But only if I like the music. And not to flip.

I’m now building a gallery of photography curated into square format called “Hipsquare” with, in most cases, space to add text to offer as imagery for bands and artists when producing work. You can’t beat a powerful photo as cover art.

I’ll be curating online playlists from my vinyl, exploring the physical media as well as exploring live band/artist photography and promotional shoots to support musicians.

Follow on new socials below for music, music media artwork, vinyl chat, gig chat and live performance photography:

Hipsquare Music on Instagram Hipsquare Music on Twitter

 

I created a body of abstract car artwork some years ago, but never really put any effort behind sharing and promoting it, even though I had a successful small exhibition. Too busy focussing on the commercial work. Not brave enough.

I’m now revisiting this and making the work available as large limited edition panels, as I think they work best at this scale and medium. Not cheap to produce but can be placed in a variety of settings and designed to be big and bold and seen. Not unlike performance cars.

Designed for those who have a passion for cars and perhaps a space in their den or garage for a piece of unique artwork. Or want to commission such.

I own a Nissan 350Z Roadster GT (future classic I hear you cry) that I’ve had for over 15 years. I’m also a member of the GRRC.

Follow on new socials for all car-related artwork, chatter and content:

ArtAutoArt on Instagram | ArtAutoArt on Twitter

 

Commercial Photography

I still enjoy working directly with exciting businesses, projects and organisations and alongside existing contracts will still look to partner and collaborate to provide supporting imagery as a spoke of my personal portfolio.

There will be blog posts on all of the above projects here on my blog which you will be able to filter by category if it’s all too much…

In Summary

Shit happens. Clouds have silver linings. The world turns; we move on.

Physical and mental health and happiness, your own and of the people you love are all that really matter.

Be gentle with yourself and others.

Be creative. Be brave. Be bop a lula…

Shaun

2022













V&A - Getting it on with Mary Quant - Timeless Portrait Photography /  by Shaun Armstrong

Images from a day of practical portrait photography with Owen Harvey at the Victoria & Albert museum.

The theme was to be “timeless portrait photography” and as I hope to do more posed work as a counter to my more natural reportage, this seemed like a great opportunity to learn in a different and stimulating place. There was also access into the Mary Quant exhibition and as I love 60’s art and culture - happy days.

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The session at the V&A started with a meet-everyone-else round table of introductions and there was a full range of folk from beginners to keen amateurs, and all really nice people. Even the ones with Leica’s.

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After a great presentation by Owen Harvey on his work documenting sub-cultures in UK & US (and a brownie point for me for spotting his Taylor-Wessing portrait) plus some experimentation with flash (not a fan of the controlled studio and strobes but there you go) we had some time to view the brilliant Mary Quant exhibition before working in groups around the V&A to find interesting portrait opportunities using available light.

As I looked around the Mary Quant exhibition, which is quite dark with mainly display lighting, I could see the visitors were mainly women, and ones with style too. Whilst I normally prefer the candid shot, the light wasn’t up to it and I’ve never really been brave enough to just stop people and ask to take their photo. But I thought, heck I’ve got special permission to be here with a camera, I’m trying to take myself out of my comfort zone and as this isn’t even part of what we supposed to be doing, what’s the worse that can happen as long as I’m polite?

So, after a little gentle stalking and a recce of where there was some useful light and background I dived in and was pleasantly surprised. No one hit me. Here are my favourites, including one lovely lady who was dressed from head to toe in original Mary Quant garb.

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We then moved onto the group work and went about the V&A taking it in turns to photograph and be “models” - this I was not expecting preferring to be the other side of the lens. I also let myself do a little candid street work, as old habits and all that…

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Afterward the day was over, our SD cards were imported to a group file and a selection of “best shots” quickly drawn out for Owen to review and feedback on as we went around the group. Some really good feedback on my work, including a few of the Quant shots which no-one knew I’d taken and which raised a few eyebrows. 10 years in to professional photography I still have terrible imposter syndrome but really cool to get some nods of appreciation from fellow professionals and enthusiasts.

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Some more images from the day. All shot with natural light on location using a Canon 5DMKIII and Canon 100mm 2.8L lens.

Thanks to everyone who let me photograph them.

MK Gallery, Milton Keynes - Reopens /  by Shaun Armstrong

Review and images from inspired inside the new contemporary art gallery, meeting and exhibition space MK Gallery in Milton Keynes.

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I’ve been a regular visitor to MK Gallery in Milton Keynes over the years and have been following the expansion and refurbishment programme with interest until March 2019 when it finally reopened its doors. So I wandered along to have a nosey and to capture a sense of the new space with reportage photography.

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The shiny metal box with its feature windows already sits well with the other iconic building shapes at the eastern end of Central Milton Keynes and when the outside landscaping is complete it will be both a gateway and a destination location.

The interior space has been beautifully conceived (6a architects) comprising clean white-box exhibit spaces, areas of exposed concrete and bright primary-coloured steelwork and signage to complement the light, urban feel. More Pompidou than pomp. With the addition of a fine cafe space, expanded shop and spacious Sky Room meeting/exhibit/theatre/meeting space with lovely views across Campbell Park and beyond it already feels right at home.

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As you can read in my earlier posts I find as much, if not sometimes more, photographic inspiration from space and the people that weave around it than the exhibits, not that these disappoint. On the contrary the inaugural exhibition “Lie of The Land” is both eclectic and informative.

That said, I did find equal muse in the building and the people…

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A visit to MK Gallery (free entry / membership benefits available) is highly recommended and I look forward to popping in again soon…

USA - Tourists /  by Shaun Armstrong

Observing and photographing the visitors to popular attractions in the USA.

I’ve talked in a previous post about my inability to attend an art gallery or museum without being drawn into photographing my fellow visitors. They are always interesting and, more often than not, dressed with more panache that I can manage. Not always the same with tourists outside in hot weather.

Carrying my observing-the-observers burden on a road-trip to Western USA yet again the folk around drew my attention despite the grandeur and iconic settings…

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Sunset in Monument Valley. Folk positioning themselves ready for the unfolding rich splendour. These massive, but also small in context, buttes warm up into all sorts of rich reds, oranges and browns as the sun sets. Helped by some aesthetic clouds it is a wonder to behold.

I just loved the way everyone was having their own moment, even from behind, and there’s a natural balance in positioning that draws you in I think.

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Viewpoint Golden Gate bridge, San Fransisco. Hundreds of people pile into this car park / visitors rest / viewpoint to get an identikit we-went-here shot. And fair enough if you’re passing through, rather than having walked from Fishermans Wharf (well worth the effort) it’s safer than the bridge itself.

It’s actually not that great a view, photographically, but amazing how people don’t invest a little time walking to get a better photo or just a better view . The cheery people on the left will no doubt be delighted when they see their image of them, a foggy bit of the bridge and three strange ladies in their shot.

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Holy heck it was hot. The Neon Museum or Boneyard, Las Vegas Nevada. Tucked away at the north end of the city sits a collection of bits and bobs of signage from over the years and it’s splendid. The stories of the old casinos, days of the Rat Pack and how lights and design evolved is captivating. I had the pleasure of a large, extended family of Mexicans on my tour and even they clamoured to get into the shade at any opportunity…

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Horseshoe Bend, Paige AZ. A walk of about 1/2 mile across an area of sandy pathway/wilderness brings you from a small car park to what is probably one of the best and most spectacular views; even better than the Grand Canyon in my opinion as you can see from the ridge to the bottom. Not that you can see it in this shot…

When I first did this walk in 1997 we were there with about six other people and didn’t see that many more in the small dust “car park” where we parked with one or two other vehicles. Back then it was “off the grid”. Now (2017) the car park is paved, massive, busy and there were perhaps a few hundred people filing / shuffling to and from the ridge edge in 100+ degree heat.

And when I say edge I mean edge; the drop from this rocky outcrop is straight down hundreds of metres. That’s a one way trip. You can’t photograph that in any meaningful way, nor the view really, but everyone tries to. I believe the plan is now to manage people and put up rails. It’s a shame, as you will feel you are looking at a view rather than being part of it as it used to be…

Hollywood Boulevard Walk Of Fame. Just your usual street characters and only one looking at a screen…

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Death Valley, California.

Not dissimilar to Monument Valley : the car park, the wall, the view, the shot. These wild spaces are so beautiful and worthy of off-piste exploration and contemplation but when that’s not possible at least the viewpoints provide extra layers of interest to the street photographer.

See a larger gallery of Tourists USA images.

The Photographers' Gallery - Roman Vishniac /  by Shaun Armstrong

Yet again caught up in documenting the visitors to an art exhibition, this time at The Photographers’ Gallery.

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It’s been a while since I’ve visited The Photographers’ Gallery and not since the major refurbishment a few years ago. I was drawn in particular to the Roman Vishniac Rediscovered exhibition in association with Jewish Museum London. Covering a body of work from 1920 to 1970 but focussed mainly on his powerful reportage work of the impoverished and oppressed Jewish community in inter-war Germany. This photography commission was aimed originally at raising awareness of the Jews in the 1930s, against the backcloth of rising fascism. The subsequent events of the second world war made these images even more important as historic documents of a way of life now lost and like all good reportage, show observed elements of real-life shot with the skill and aesthetic of a great reportage photographer.

Covering two floors of the Gallery, it also covers the period of his move to the US in 1940 where he documented Jewish families relocating and settling into their immigrant lives and his subsequent portrait work and his lifelong interest in biology and advances in colour photomicroscopy.

Roman Vishniac Rediscovered is on at The Photographers’ Gallery until 24 Feb 2019

However, I again failed to stop myself being drawn into taking candid iPhone images of some of the other visitors to the galleries - always interesting people who, weaving in amongst the fixed displays never fail to bring out the reportage photographer in me. Including Mr Beret who punctuated each stop-and-look movement with a firm thud of his walking pole…!