memories of the sea

A COLLECTION OF SEA STORIES

FROM THE MEMORIES OF HYTHE

MARINA RESIDENTS

FEATURING PHOTOGRAPHY

FROM AROUND THE AREA

SHOT ON 35MM FILM

CONTENTS

FOREWORD

‘MAN OVERBOARD’

‘BISCAY CROSSING’

‘GRYTVIKEN 1984’

‘A NIGHT TO REMEMBER...’

‘MAY DAY’

THE EXHIBITION

ESSAY: ‘THE PASSAGE OF TIME’

07

09

15

27

33

49

55

61

FOREWORD

‘Memories of the sea’ aims to capture

ways of the past, and then present them

within a modern context. Traditional

methods of sign painting inspired the

aesthetic style of my work, referencing

the lost art of hand painted typography

on boats.

The concept for my project is to use

this aesthetic to present people’s

memories and stories. Therefore, the

exhibition itself serves as a space

in which these signs can be fully

appreciated together, in order to

create a glimpse into the narrative

of each quote.

Each sign has been hand painted and the

array of typefaces are inspired by the

diverse nature of signage, therefore to

reflect this, the sizing and scale also

vary from piece to piece.

Nostalgia is another key element of

this project, and this idea is conveyed

through the telling of stories and past

memories, whilst the visual styling

reflects traditional methods of design

from the past.

As well as the work produced for the

actual exhibition display, this book

also serves a significant purpose. The

content includes the full stories from

which some of the quotes are taken, each

story having been written and submitted

to me by the residents of Hythe Marina.

This book contains five short stories

and a series of my own photographs.

These images focus on the marina

area itself, to capture the maritime

atmosphere of the surroundings. All of

these images were shot on 35mm film with

a Nikon EM, in order to maintain the

visual authenticity of the past.

As well as the short stories, this

book also contains a synopsis of the

exhibition. Including imagery of the

work displayed, alongside the marina

residents who attended. I have also

attached a chapter from an essay that

I recently wrote, there is a significant

relevance as the essay explores how

the passage of time has an impact on

visual culture.

- George Lavender

MEMORIES OF THE SEA // FOREWORD // 07

We left hythe in my contessa 32 sarukh

early in the morning to compete in the

nab tower race - my favourite race apart

from cowes week.

We got to the start line off cowes with

a mixed fleet of about 300 boats. As

usual there was a lot of barging and

crew yelling starboard to gain a good

position 5 mins before the start. We

had a good start with large fleet of

sygma 33s alongside in front and behind

- none more than 10/15ft apart - tight

racing indeed.

After about 15 mins we had a wind shift

which took us from a broad reach to a

dead run but with the tide with us

we sailed along with a large spinnaker

pulling well so my crew pal oli set

himself against the boom to avoid

us gybing.

MAN OVERBOARD

Fenders by the mooring

Escapade, 26 Shamrock Way

MEMORIES OF THE SEA // MAN OVERBOARD // 09

Unfortunately a few boats did so

only about 2 boat lenghts behind us

causing me to involuntary gybe which

had the immediate effect of catapulting

oli over the side and about 12ft

away oli was wearing a racing lifejacket

un inflated and I immediately asked him

to pull the inflate cord. I was concerned

because he was wearing sea boots which

became full of water.

Oli‘s reaction was to smile and wave to

say he was ok but he didn’t want to have

to replace a £5 gas cartridge. So be it

- I immediately luffed up whilst we got

oli back on board - still smiling!

Cloudy day on the marina

He immediately went below to change all

his wet clothes and we all had a coffee.

It was only after me asking him to go

below again to rest did we continue

with the race - round the nab tower and

back. Oli slept well for a long time

until he came on deck seeming no worse

for the ducking.

Oli drove back to farnham ok but he

woke up during the night with the

shakes. His mother - who was my

neighbour, before I moved to hythe,

rang me for the full story.

Oli went to the doctor for a check up,

he was ok but 10/15 mins in the solent

is not a good idea. So please take care

folks and do wear lifejackets!

MEMORIES OF THE SEA // MAN OVERBOARD // 13

My wife Steph having brought the boat,

an Oyster 435, down to Concarneau with

me in May 2004 was dropped off at St

Malo and the Biscay crew of old racing

mates Tony, Mark and Nick collected from

the same morning ferry from Portsmouth,

complete with sun sight tables and

internet weather forecasts. After

dropping off the hire car and obtaining

additional groceries at Concarneau we

were ready for departure and checked the

forecasts again via satellite.

These showed a low moving offshore

through the Biscay area going South

Westerly 5 to 7 which should have

cleared into the Plymouth area by late

morning of 30th May. The immediate local

forecast for Concarneau was for a North

Westerly 3-4. Off the Spanish coast the

forecast was for a North Westerly 4-5.

We therefore judged that the worst

weather would be to the north of us

and it would be an improving situation

for the Biscay crossing and set out at

6.30 on Sunday 30th May. Nick declared

that he never suffers from sea sickness

and all of us were looking forward to

a good sail.

BISCAY CROSSING

Jetty, 34 Velsheda Court

MEMORIES OF THE SEA // BISCAY CROSSING // 15

We motored initially to clear Concarneau

harbour with its fickle winds and then

managed to sail in 8-12 knots North

Westerly’s with genoa and full main in

kind seas and sunshine making between

4.4 to 6 knots until 20.00 hrs. We

even managed to try a sun run sun sight

during this period achieving an error

of 20 miles compared to the GPS which

we blamed (well you would) on the

ships clock error.

At this point the wind backed to South

West and started to increase to 22

knots true with the sky grey and

overcast (just like the Solent). We

had a choice, as clearly the 5 to 7

originally forecast had not completely

cleared the area, and this was to sail

out into the Atlantic on a clearing

course but not in the direction

we wanted to go or to motor sail to

increase the distance to the French

lee shore, heading down to the Spanish

coast on the understanding that the

wind would free off as we closed Spain.

We did not want to risk sailing towards

the French coast as this was a shallow

Pier Bridge, Hythe

Houses over the water

lee shore but the thought of closing

with our objective was too strong and we

decided to motor sail. By this time Nick

was suffering from sea sickness and was

laid up in his bunk increasingly unable

to take fluids or solids. Tony and Mark

were also sea sick but able to carry on

in various degrees.

We checked the satellite forecast again

which confirmed that the wind should

free as we approached the Spanish coast

and we therefore elected to carry on.

However, the sea state was surprising as

although it was in excess of 1000m deep

the waves were short and steep like a

Solent chop making progress difficult and

very uncomfortable. We were shipping a

fair amount of water over the deck.

We carried on through the night towards

the Spanish coast eating baguettes,

biscuits etc and taking fluids as tea


Yachts in the sunlight

Rope around winches

coffee and water. Nick however was

not able to take anything but being

a generous soul was still trying to

“give us presents” and we were

becoming concerned.

At around 1100 hrs on Tuesday the wind

started to veer towards the West and

reduced to 7 knots true. This was a

welcome respite although the sea state

was still lumpy. We had intended to go

to Portosin around Cape Finnisterre but

decided that if Nick could not keep a

good meal and drink down by lunch time

we would divert to La Corunna and motor

sail with the main up.

Miraculously Nick stared to improve

and had a good hot meal that lunchtime.

Better still he even kept it down

with water and we decided to carry

on to Portosin.

Approaching Finnisterre that night

the wind started to increase and we

managed to set a full genoa with main

and started sailing again. This was

later reduced to headsail only as we

approached Finnisterrre in a 25knots

true North Easterly with gusts up

to 34 knots but the autopilot was

managing brilliantly.

The boat was surfing at 11.5 knots

around the cape in gusts of up to

40knots.However, daylight was breaking

with sunshine for the first time and we

were now enjoying it being well fed and

watered too.


“But that will be another story”

Sunset by the lock

We turned in for the Ria De Muros in

a heatwave with bright sunshine and

fantastic scenery arriving in a very

hospitable marina in Portosin at 12.30

on Wednesday to a welcome beer, a few

days sightseeing and Rioja tasting

before catching a flight back to the UK.

Our log read 428 miles for the trip

in 80 hrs ie 5.35 knots - not exactly

racing performance but not too bad

given the conditions. The boat behaved

brilliantly feeling very secure

throughout although we shipped a fair

amount of water into the forecabin

during the passage - mainly due to a new

deckwash pipe not being sealed through

the deck and my having forgotten to

blank off the ventilators.

Would we do it again? The log reading

says “remind me about Biscay before

thinking about the Atlantic and the Med

now looks good”. However, that was a

couple of months ago and memories have

the advantage of the bad ones fading

with time.

Since that passage in 2004 we made it to

the Med and after holing up in Portugal,

Spain, Balearics and Italy we cruised to

Greece before selling Roysterer in 2011.

Our plans now are to “sail” our newly

acquired motor boat around the Baltic

and possibly around Britain together

with racing...

But that will be another story.


We joined the Royal Navy to go to sea

– but engineers do so only rarely. As a

result, the greatest threat to me during

the Falklands War of 1982 was that of

being run over by a bus in Whitehall

outside the Ministry of Defence.

Two years later, however, it finally was

my turn to go to sea again, this time

on the staff of the Naval Task Group

deploying south to the Falkland Islands.

On arrival, the warships went off on

separate patrols around the places

that had been so much in the news

two years before.

GRYTVIKEN 1984

View from the common

An enormous amount has been written

about the war – some of it by people

who were there and far too much of it

by people who weren’t, so there is no

virtue in covering such well-trodden

ground in a short piece like this.

Instead I could offer one aspect of my

visit that made a big impact on me at

the time; namely a fine example of the

Law of Unintended Consequences.

On one of our patrols the frigate on

which I was based visited the small

settlement at Grytviken. The town had

been a whaling station, to which the

Scandinavian whaling crews had returned

each year for the “season” when the

whales also returned - and were duly

hunted. Finally the international

opposition to whaling reached the point

when one year the crews did not arrive,

and they never did again.

MEMORIES OF THE SEA // GRYTVIKEN 1984 // 27

“The place was still frozen in time”

View from my room

The important point to note was that,

when the crews departed at the end

of each season, leaving Grytviken

deserted, everything was left ready for

the next season; the complete town,

the accommodation blocks, the harbour,

the storehouses, the whaling ships

themselves, the complete infrastructure

for an entirely self-sufficient and

remote society.

But the whalers did not return and

the place was still frozen in time –

literally - when we arrived several

years later, even down to the perfectly

preserved prayer books lined up on the

shelves on the beautiful little wooden

Norwegian Church.

The only witnesses to this sudden end to

an entire way of life and death were the

elephant seals on the beach... But as

you can see from his chin, the fighting

was still going on!

MEMORIES OF THE SEA // GRYTVIKEN 1984 // 31

A NIGHT TO REMEMBER...

We are on our way from the Marmaris area

of Turkey, via the Datça peninsula, to

the Greek Dodecanese island of Leros,

where we will be lifted out at the

Partheni boatyard at the north of the

island, for the winter.

We have a Kindle 3G on board, so are

able to keep up to date with detailed

weather forecasts from web sites such

as Windguru, even when at anchor in

relatively remote places, such as

Knidos – an ancient harbour with ruins

of the theatre as a backdrop to the

anchorage - at the western end of

the Datça peninsula.

Thanks to the Kindle, we were aware

that there was going to be a moderate

Southerly wind to help us get from

Knidos up to Bodrum, where we hoped

to stay in the Milta marina for a few

nights while very strong (up to 40

knots) winds from the SSE - S blew

for a few days.

We reached Bodrum marina by early

afternoon on Saturday the 8th, but were

told they had no room, so we went to

anchor at Mud Bay, on Black Island,

about 3 miles to the south.

Pier bridge, Hythe

MEMORIES OF THE SEA // A NIGHT TO REMEMBER... // 33

The winds were still only moderate, so

we were able to anchor in about 8 metres

of water and take a line ashore. I put

out 60 metres of chain, and used the

tender and outboard to take a long line

ashore, which I made fast around a rock.

I then returned to Harbinger, and left

the tender, with outboard, tied to the

stainless steel gantry above the davits,

to be ready to go back to untie the

rope from the rock after the strong

winds had subsided.

Houses by the shore

By midnight the winds had built up to

their full strength, but were from the

East - (instead of from the SSE, and due

later to be from the South, which would

have given us good protection) - so we

were being blown sideways, towards a

large day-tripper boat which was berthed

at a jetty, with a long anchor chain

out. I put our engine on, and we used

the electric windlass to shorten the

amount of anchor chain to 50 metres,

to keep us clear of the other boat and

its anchor chain.

By 3am the winds had increased further,

and we had been blown very close to

the day-tripper boat, so I decided to

jettison the line ashore, so that we

could swing out to be in line with the

anchor chain, and let the wind blow onto

our bows, rather than across our beam.

The line was attached to one of our

cockpit winches, and I am always very

careful about taking ropes under tension

off winches, but this one was too fast

for me – the last few inches came off


“By midnight the winds had built up”

Lock controls

Still water in the marina

very fast indeed and lashed my left

hand, drawing blood from one of my

fingers and bruising a knuckle – but

fortunately nothing was broken!

Once we were free of the line ashore,

we swung out OK, well clear of the

day-tripper boat and its anchor chain,

although we were now closer to a number

of other boats at anchor, one with what

appeared to be a glow-worm in a jam-jar

as an anchor light, and some without any

lights at all!

Harbinger was bobbing up and down

in the wind and the waves, with the

tender and the outboard bobbing in the

water behind us - but the anchor was

holding. However, the winds were getting

stronger, so I decided not to rely on

our GPS “anchor drag alarm”, but to

stay in the cockpit in case the anchor

eventually started to drag.

At some point after 3am, I noticed that

the painter (rope) for the tender had

disappeared - the tender and outboard

had gone - presumably the constant

tugging had caused the line to become

undone, even though in all the years

we’ve had Harbinger, we have not had

a problem with this. What a disaster!

Without the tender, we are unable to go

ashore if we anchor anywhere – we’ll

have to use marinas from now on, until

it is replaced.


At about 4am, I realised that a very

large gulet, which had been about 100

metres in front of us, was getting

closer – it was dragging its anchor,

and moving directly towards us. I shone

our most powerful torch at it, but that

seemed to have no effect, so Jeanette

passed me our Fog Horn. I gave him a

few blasts, and they started their

engine when they were about 30 metres

from us, and moved forward, and away

into the darkness.

As it began to get light, around 6am,

I could see that several of the boats

which had been at anchor near us, had

disappeared. Goodness knows where they

could have gone!

Between 8am and 9am we had severe

thunder and lightning, with several

flashes and huge bangs going off almost

simultaneously, at different places,

all around us. I’d never been in such

conditions before. The winds, still from

the East, were well over 40 knots, and

I could see walls of spume about a foot

Sunrise at the marina

Cabin door


high, with occasional columns of spume

several metres high, coming towards us

– and when they reached us, the noise

in the rigging rose to screaming levels

(i.e. the wind was screaming – not us!).

Then there was a sudden wind shift,

instead of coming from the East, it

suddenly changed, and came from the

West. Our 14 ton boat was swept along

for what must have been almost 100

metres until the anchor held us in

what was to be our new position for

the next few hours.

Meanwhile the day-tripper boat, which

we’d moved away from during the night,

realised that the two lines ashore

it had set up to stop it being blown

sideways / westwards by the easterly

wind, were now useless, so they started

their engine, tossed their lines

overboard, hauled up their anchor chain

and motored forwards to open water, and

dropped their anchor about 100 metres

away from the shore.

Then the rain started, absolute white

- out sheets of rain that flattened the

sea, for what seemed like half an hour,

only in the Aegean does it rain like

that! The winds and the rain subsided

some time after 10 am, so we called

Milta marina in Bodrum again, and asked

them if they had any room today, as we

didn’t want to spend another, possibly

two, nights like the previous one.

I didn’t know how we were going to get

enough sleep to enable us to cope with

another night like that! At least

our anchor had held, throughout the

entire episode!

Bodrum marina said they were full until

at least the end of the month, so we

phoned Turgutreis marina, about 7 miles

north of Bodrum – we were relieved to

hear that they were able to accommodate

us. So – we started the engine again,

and Jeanette used the electric windlass

Mooring on the jetty


Frolika and Trinity Star

to haul up the 50 metres of chain we’d

had out since midnight. She commented

that the decks were cleaner than she’d

seen them for months, if not years –

they’d had such a good power-wash!

So we came up to Turgutreis marina,

which is where we are now, and had a

very good night’s sleep last night. We

will probably stay here another two

nights, before leaving Turkey and going

south to Kos, in order to formally enter

Greece, prior to going up back north

again, up to Leros.

There is more of the bad weather

forecast for this afternoon. But we

don’t care – we’re securely tied up

here in Turgutreis, keeping in touch

with friends by text messages and email.

We hope you are all safe and secure,

wherever you are!


My husband bought a house in Hythe,

not having sailed before, then decided

he’d better get a boat which he did, a

sailing boat which he bought with his

brother in law. There are plenty of

tales of the experiences in the lock.

My brother in law was at the helm

whilst entering the lock with my

husband was at the front of the boat.

With no warning, my brother in law put

the boat into reverse and my husband

fell off the front. This must happen

so many times!

MAY DAY

In my earlier days, before the days

of so much access to mobile phones,

I sailed with three other friends from

Suffolk round the coast to Brighton. I

hadn’t sailed much then and arrangements

to board the boat were always chaotic

because you had to make your way to

wherever the boat had got to.

I made my way to Lavenham by train,

changing at somewhere on route.

Approaching the station, there was an

announcement over the tannoy that Julia

Greenhalf should go to the station

master on arrival. It transpires,

plans had changed and I was being met

by some unknown member of the crew

rather than having to get a taxi.

View from 34 Velsheda Court

MEMORIES OF THE SEA // MAY DAY // 49

The first day was beautiful, my idea of

heaven - sun, warmth, calm seas. This

was the life! I had a rude awakening

the next day, departing from Ramsgate,

fog, rain, wind... We didn’t make much

headway in force 5 and 6 so stopped in

Dover whilst the tides changed. We set

off again after lunch. I kept quiet

(not usual for me) in order for the

captain and more experienced crew

to concentrate.

We went past Dungeness in a Force 9

with the light worsening ... there

were May Days coming across the radio.

I have never been so scared from that

day to this. I couldn’t work out if we

capsized, how I would breathe until the

boat righted itself. It didn’t occur

to me that whilst I was hooked to the

boat, I may knock myself out and never

surface again!

At about 8pm we saw search ships

combing the area and asking if we had

seen any capsized boats. For the two

hours it took to sail this stretch with

the rescue boats in sight, I felt safer.

We safely reached Eastbourne at 2am...

such a long day, but safe.

View of Southampton docks

Sunshine on the water

MEMORIES OF THE SEA // MAY DAY // 53

THE EXHIBITION

Exhibition set up

The ‘Memories of the Sea’ exhibition

was held in the Solent Dolphin room

at Hythe Marina between the 13th and

15th April. Firstly, special thanks

to everyone who came to the event,

it was a great weekend! Also, thank

you to those that contributed their

stories, wtihout this would not have

been possible.

Great interest was shown by the

various residents and general members

of the public that attended. The

most intriguing aspect was how each

individual reacted differently, to

the artwork and the subject matter.

For a large proportion of the

residents it was really exciting to

see their stories printed in a book,

and to recognise areas, houses and

boats in the photographs.

Whilst others appreciated the scale

and effort of producing the hand

painted signage, many people respected

the fact that they were not digitally

produced.

Poster on front door

Installing signs

MEMORIES OF THE SEA // THE EXHIBITION // 55

Resident reading book

Signs on the wall

Stacks of books

Resident observing

MEMORIES OF THE SEA // THE EXHIBITION // 59

THE PASSAGE OF TIME

The conflict between analogue and digital

practice has inspired the majority of

my work so far this year, therefore it

is paramount that I reflect upon how

this key discussion has informed and

improved my practice. Furthermore,

there is a significant connection

between this idea and the focus on hand

painted signage and typography within

my final major project. I intend to

explore the relationships between the

past and present of graphic design,

specifically how appropriation conveys

our obsession with objects and aesthetic

styles from the past. Subsequently, the

theme of nostalgia will be paramount to

my analysis of these subjects, as it

reflects our admiration and longing to

capture those bygone moments of time.

“The past, which is gone, can only ever

be partially reconstructed within the

ideological and discursive frameworks

of the present” (Contemporary Art and

Memory) this demonstrates how the theory

of ‘hyperreality’ can be applied to the

expression of memory within art and

design. Furthermore, this portrayal

of memory can often be dictated by the

social and political values of modern

society, this leads to the formulation

of ‘counter-histories’. An inaccurate

or misinterpretation of the ways of

the past in a contemporary context,

this relates to my discussion of the

Hollywood myth. This text by Joan

Gibbons explores the reassembling

of history in art and visual culture.

An essay that explores the concept of

time within visual culture and design,

in particular how the ways of the past

are often resurrected in the present day.

The theory of ‘postmemory’ describes

the way in which a simulation of the

past is created by secondary sources,

which were not primary witnesses to

the specific time period. For example,

“history and memory, which intertwine

sometimes to the point of fusion and

possibly confusion” (Contemporary Art

and Memory).

‘Postmemory’ is a form of social

memory, in the sense that our

perceptions of historical events or

periods can be determined by the media’s

representation, a prime example of

this is the TV series ‘Mad Men’. The

simulation of what is presented on

screen leads us to believe that the 60s

were the cultural birth of the creative

industry with a heightened sense of

glamour. This therefore creates feelings

of nostalgia amongst the audience,

regardless of our association with

that era – unsentimental nostalgia.

Since 2006 ‘Mad Men’ has enjoyed great

success, and many others have followed

the trend of the ‘retro revival’. ‘Pan

Am’ (2011) is a show that follows the

iconic American airline from the same

time period – again the depictions of

their lifestyles are over-stylised

and typically glossy. The common

paradigms within this breed of serial

television are the presentations of

nostalgia and wish-fulfilment; it is

this form of media illusion that

informs the idea of ‘postmemory’.

In order to create the illusion of the

past as a simulation in the present,

there are multiple signs to consider.

For instance, the paradigms of fashion

style and typographic detail help the

video game L.A. Noire (2011) to capture

the essence and spirit of being a Los

Angeles detective in the late 40s.

Moreover, the use of iconography from

the film noir period reinforces the

historical context within the game.

MEMORIES OF THE SEA // THE PASSAGE OF TIME // 61

Boardwalk Empire (2010-) is another

example of reassembling history within

a TV programme; the simulation of

traditional typographic signage used

on set is reminiscent of the work

produced by ‘Sky High Murals’.

Using the knowledge I have gathered

from studying the reasons behind modern

societies obsession with authenticity,

I began to explore examples of vintage

design, focusing on the origins of

packaging as this closely relates to

traditional signage. Both of which serve

a similar purpose, to communicate the

value or identity of a brand or company.

The way in which typography was applied

to the packaging of a product was

considered the origin of branding;

it was initially solely used as a way

of differentiating between products

on a purely visual level.

Although this is still true today,

there are now significantly more

details to consider. However, I am

more concerned with how the theories

of ‘postmemory’ and ‘hyperreality’ can

be applied to the analysis of modern

day design in comparison with vintage

examples of design. There are numerous

contextual references to vintage design

within modern ‘retro’ design, such as

the decorative border, letterpress

type styling and use of multiple

fonts. These are all techniques that

have been appropriated from 19th

century playbills, an iconic example

of decorative type from the past.

This form of appropriation within

design, is very similar to the manner

in which media (like Mad Men) attempts

to reassemble history through the

simulation of aesthetics. This

demonstrates ‘hyperreality’ in

practice within the world of art

and design, appropriation in this

sense could also be seen as an

example of ‘postmemory’, by recreating

a visual style of the past with

disregard to the primary witnesses

of that era.

In correlation with the preservation

of time, on screen media is a major

contributor in capturing the essence of

historical periods. The Hollywood film

industry is a prime example; the theory

of ‘hyperreality’ demonstrates how the

concept of ‘fabricated’ history portrays

an exaggeration of the actual reality

in order to appear more desirable. The

Hollywood myth was the birth of material

culture, representations of the perfect

and unattainable lifestyle within the

movies appeal to the self-fulfilling

prophecy of the individual.

As time progresses, there is still a

sense of grandeur and glamour attached

to the Hollywood movies, a stylised

illusion of our own reality informed

by our ‘postmemory’. Television has

also become obsessed with reassembling

history recently, the series ‘Mad

Men’ emphasises this idea. This

reconstruction of a bygone era is

controlled by the social and political

values of our contemporary society, thus

forming a ‘counter-history’. We cannot

witness true replication of time because

the way in which we reassemble history

will always inevitably be influenced by

our modern surroundings, contemporary

society and visual culture is impossible

to ignore. Branding is synonymous with

our daily lives now, it’s origins stem

from the application of typography to

vintage packaging. This indicates how

over the progression of time, design is

constantly evolving by appropriating and

synthesising aesthetic styles.

In order to innovate for the future, we

must first look to the past.

MEMORIES OF THE SEA // THE PASSAGE OF TIME // 63

In loving memory

Joan Bullock 1922 - 1986

MEMORIES OF THE SEA // IN LOVING MEMORY // 65

SPECIAL THANKS TO ALL OF

THE CONTRIBUTING RESIDENTS

OF HYTHE MARINA

‘MEMORIES OF THE SEA’

AN EXHIBITION BY

GEORGE LAVENDER

memories of the sea

Documents

short stories

collection of sea stories

past memories

telling of stories

residents of hythe marina

sea man

sea foreword

good start