Graeme Webb Art

Born in Belfast in 1966, Dameon Priestly grew up during the Troubles, an experience that continues to shape his work. He studied fashion and textiles at the University of Ulster, graduating with honours, and worked in the fashion Industry before turning his attention to fine art in the 1990s. He has since developed a practice spanning painting, drawing and collage, often exploring social injustice, cultural movements and the lives of people often overlooked by history. His subjects also include artists, performers and political figures whose stories challenge familiar versions of cultural history. Dameon has exhibited in solo and group shows since 1999. His work has reached an international audience, including American film director Spike Lee, and he was chosen to create sleeve artwork for three Van Morrison albums. He lives and works in Kent. His latest exhibition took place in November 2026 at the 67 York Street Gallery in Londons Marylebone.

I went to the private view of the Blackheath Art Society’s 2026 Winter Exhibition at Blackheath Halls on the 5th of November. The Bar was busy, with people chatting, looking at the artwork and catching up with friends and fellow artists over drinks. It felt more like a friendly get òtogether than a formal gallery visit.

My watercolour palette has seen better days. The pans are stained, the colours have wandered into one another, and the handwritten colour chart in the lid is probably more useful as a reminder of what went where than an accurate guide to what is actually there. 

I have to admit that blue is not a favourite colour of mine despite being one of the worlds favourite colours I much prefer working with earth colours and neutrals, the muted tones of weathered surfaces, rust, stone and decaying materials. Recently, however, I have been trying to overcome this preference by making a series of paintings in which blue becomes the dominant colour.

There is something very accessible about Thomas Benjamin’s work. Bright colour, scattered marks, fragments of painted paper, collage, stars, circles and unexpected shapes jostle together across the surface of his creations. At first the paintings and collages can appear spontaneous, even chaotic, but spend longer with them and a sense of purpose and structure begins to emerge.

Recently I spent a pleasant afternoon visiting Annette Johnson’s studio in Blackheath which was part of the 2026 Greenwich Open Studios Trail. Annette started painting whilst living in Boston, America and has since studied at the Sir John Cass College of Art. She has also studied etching at Morley College.

Stand development is a wonderfully simple way of processing black and white film, and Rollei R09 One Shot is particularly well suited to it. Based on the classic Rodinal formula, R09 works effectively at very high dilutions and has excellent keeping properties. This combination was a favourite of mine used back in the 1960's especially when printed on Agfa grade 5 bromide paper, I still have a few prints left from that period.

I have been out of the analogue photography scene for many years. My last foray was publishing a few limited edition books and prints with Trevor Crone focusing on The Impossible Project and Polaroid instant film using original 1970's Polaroid cameras. Part 1 discusses the 35mm Holga camera, part 2 stand development and part 3 the 120 roll film version of the Holga.As an after thought I may round this series off with a part 4 the Holga 120 PC pinhole camer.

This follows on from my recent other pieces about CWM processes. I have gone through these processes several times over the past two years and I dont see any structual problems with the paintings I have produced using these techniques so far. I would suggest that processes should be tested using your own materials. One of the great advantages of working with CWM and oil paint is that the final layers can sit over a textured acrylic underpainting. Acrylic dries quickly, accepts a wide variety of mixed media, and provides an ideal foundation for the slower more relaxed process of painting with oils and cold wax. 

Few local art organisations embody the spirit of community and artistic practice quite like the Blackheath Art Society. Founded in 1947 in the years following the Second World War, the Society has grown from a small collective of local artists into one of south east London’s most respected exhibiting organisations. 

Making your own oil paint is a process that creates a direct connection between artist and material. Beyond controlling consistency and colour strength, each paint becomes something uniquely crafted rather than simply bought. Whether using finely milled pigments from Jackson’s Art Supplies or earth collected from the banks of the River Thames and other locations, handmade paint combines traditional craftsmanship with contemporary practice. Also see this Post.

In this memoir on her blog, Photographer and Artist Mish Aminoff recalls being six years old when her headmaster praised the seven-year-old girls as “the most beautiful girls in the world.” Feeling left out, young Misha changed her birth year in her school books so she could be seven too.