Ever onwards and upwards.

Or to put it another way, even though the current exhibition is still ongoing it is time to start

preparations for the next, although I must admit that this has been prompted by a magazine chasing me for an advertisement and editorial details.

It does all tend to focus the attention a little bit although I had been looking forward to a period of relative normality. Well actually the normality would mean driving to locations scattered around the country, collecting various pieces of art,

and visiting different shows and art fairs.

So, in early September we will be exhibiting the work of two very different female artists.

Amanda Popham and Jackie Morris.

I tend to show you Jackie's work fairly often so I thought I had better just give a quick insight

into the world of Amanda.

She lives on a remote hillside in a tiny hamlet in the South of England.

I had long threatened to visit her and "take away any work she had",

but this was to be my first ever visit to her home and studio.

It is easier to draw blood from a stone than it is to get hold of some of Amanda's work, almost everything that she makes is pre-sold and her work often appears at auction.

She had warned me that even if I visited there would never be any ceramics available.

Of course, "I just knew that she was lying" and was convinced that if I visited I would leave with a few boxes of her work that she must have put aside.

So when I parked outside her cottage I was full of enthusiasm, knowing that this was one journey that was definitely going to be worthwhile.

It was, I really enjoyed my visit and having the chance to converse with someone I had known only through the telephone and email's, but as she predicted there was no work to take away.

Not one finished piece , everything had been sold and everything she was currently working on was also sold.

What a woman, what an artist, and yet so unknown in the world of ceramics.

I can think of many people who would love to be in such a situation, the public demand being

greater than your output.

In the past I have always struggled to get enough of her work and on the occasions that we had

it was only because the theme [of the exhibition] was close to her heart.

I admit I was very surprised when she agreed to a "one woman" show of her ceramics,

but even this was for a reason.

It had been intended as the last exhibition in our current home [as our lease soon expires],

it was intended as a 'Swan Song".

"I have always wanted to be someones Swan song", she told me when asked.

So for over a year I have been looking forward to receiving a fair size amount of her work.

That didn't mean that I was prepared to go without while I waited,

but go without we have had to do, along with a lot of other eager galleries,

and go without even after a very long drive.

She had so many commitments, including an auction at Sotheby before showing with us.

Still, I enjoyed my visit and it left me with many memories and full of enthusiasm, also at least I was able to have a glimpse into how and where she worked, and this has been really good in terms of giving me a greater understanding of what she is doing.

Also, when asked in the gallery about a particular artist it is good to close my eyes [mentally]

and to re-visit their studio, that way I am better able to paint a picture [with words] about

the person. It makes me appreciate that I was privileged to have visited them and knowing

that any purchase of art is a personal thing I am able to give the customer a second hand

peek into the artist's world. Now I can tell people about her world

So here is your own very small peek into the world and studio of Amanda Popham.

As predicted I came in today, looked again at yesterdays picture, disliked it and then spent

another half day changing it, this time a little more subtle [I think].

I will leave it now and come back to it after a day or so to see how I really feel about it,

if need be I will discard it and move on as there is obviously something that I am unhappy with.

Believe it or not the above short paragraph has taken 30 minutes to write.

Here in Long Melford we have a thunderstorm going on.

I know that in previous posts I have mentioned how quaint and old this part of England is,

indeed one of the attractions is that it is still about 20 years behind the rest of the world.

It is for that reason that we moved from the beautiful Cotswold's to live and work here, it still has a lot of the qualities, atmosphere and values that have disappeared from other regions.

It is stuck in its own little 'time warp'.

Especially when the weather is anything but mild.

Even light showers and a breeze can leave us without power for hours, and at home we have torches, candles and camping stoves on ready standby for most of the year.

I have lost count of the evenings that the family have played cards, 'eye spy' etc, by candle light.

We are talking about summer months not bleak January evenings, those days we huddle around the log fire trying to decide whose turn it is to fetch fresh wood from outdoors.

So to do a post in a summer storm!

What chance?

The more the power cut out the more determined I became to finish what I started.

So on borrowed time before the next lightning flash and power failure.

A good thing happened today, the potter John Bedding who lives and works in beautiful

St. Ives, Cornwall

sent me a few of his pots to gauge public reaction.

I have "booked" John for an exhibition next year, which is maybe a silly thing to do as we have never shown his work, but I love his pots so much I had to offer an exhibition.

In a strange way John is one of the reasons we are here today,

Many years ago and what seems like the someone else I was a potter, this was back in the days before 'Potters Fairs' and 'Ceramics this, that and the other',

which are now shown all over the country,

it was a time if you weren't selling in a gallery you weren't going to survive.

How it has changed.

All those years ago there was only one gallery to show in and that was the C.P.A.

"The Craftsmen Potters" shop, since re-titled for political reasons "Contemporary Ceramics".

As Jim Malone [potter] said to me recently, "in those days it meant something, you were regarded as one of the best potters in the country".

Back in those days my dream was to be accepted as a member,

and then to be allowed to show my work in their London gallery.

This did come to pass, as they say.

Like almost everything in life I have since come to understand that "politics" plays an important part, but then I was young, naive and enthusiastic.

But I didn't understand politics

So when much later I eventually decided to throw in the "potters" towel and get a proper job,

I vowed that I would never buy a pot again.

Fifteen years later while on holiday I found a pot in the window of a gallery in St. Ives,

I looked at it and fell in love with it over the duration of a week and on our last evening went inside and asked the owner could I purchase it.

The potter and owner of the gallery was John Bedding.

It was through him that I learned to love pots again.

I have never forgotten how John brought my focus back, and as a result is the reason we sell ceramics.

What could be more fitting than to have an exhibition of his work?

Above are pictures of his pots, including a detail picture.

I love them as much today as I did that day when I found "that one pot" that brought me back.

As you might know I take photographs from time to time,

mainly for my own satisfaction but

occasionally some of them are used for book or CD covers, which although it doesn't pay much

gives me a small sense of fulfillment and satisfaction.

To stand in a shop looking at a book cover that I created is a funny feeling.

Sometimes, the pictures were taken in isolated areas where there may have been no other person for miles around.

These are very personal pictures that I have taken just because I could, they were taken to give

me pleasure, so when many months later the picture is used to give others pleasure

[or to make them buy a book] it gives me a very strange feeling.

Almost an invasion of privacy but at the same time pleasure that others could see a scene

through my eyes.

If that makes any sense.

Of course this has little to do with the gallery, although in the past I did on occasions show my pictures, but now this seems a little too much like having an "ego trip" so it is only on a rare

occasion when I need to fill a gap that one of mine comes out.

Although it sounds like it this is not an attempt a false modesty, I really need to sell other artists work not sit in a shrine dedicated to me.

Although that does seem appealing the more I think about it.

Some of the pictures I have taken are of women [occasionally men] in period clothing, these pictures seem to be popular with others and I have had many book covers and magazine articles showing my photographs.

So it was with no great surprise that I received a call about three weeks ago from a publisher

asking if I could provide them with a series of 'Tudor' photographs to be used as book covers.

I said that I would "have a go" then after the conversation put them on the "back burner" in my mind.

There was a problem, most of the people I have photographed are not models as such,

just ordinary people dressing up,

but like everyone else they read the papers and watch TV and have become educated that models earn millions "just look at Kate Moss and Jordan" they think.

"I'm a model now, give me some of those millions you are making".

The reality is I earn between £50 - £80 a book cover, and this usually after spending an average of 30 hours 'improving' the image.

As a result I have no money to pay them, they are convinced I have made a fortune, end result:

I don't take pictures of females any more.

But there are exceptions.

One of these is a young woman called Sarah.

I have photographed her many times, a couple of her pictures have ended up as book covers.

Importantly we both had some fun and produced some lovely pictures, which have given us both pleasure.

As fate would have it she contacted me just after I was asked to do the new covers.

So cutting a very long story short, yesterday we used the fantastic church in Long Melford

for an hour or so taking "Tudor Royalty" pictures.

It was fun and for me made a refreshing change but it may have all been a waste of time.

Although I had been given descriptions of what was wanted "close up, lots of detail...etc",

I ended up doing what I always do [ask Irene] pleasing myself.

I chose one picture to work on, in "post production" so to speak, I had an idea of what I was

after but once started as usual the picture took on a life of its own and lead me along.

This evening I think that it is finished but I know from past experience that I need

"to sleep on it".

In the morning I have a strong feeling I will see many things that I am unhappy with, and it

is likely that I will devote a few more hours to it before something in my mind tells me

"that's it".

I am sure that it will never be used, as it is so far away from what was requested,

but I was told "do it in your style". So I have.

Unfortunately this isn't always commercial, which is the reason I don't make millions that I can pay "models" with.

So above are a few [very few] of the stages that the picture has been through over the last

day or so, starting with the today's finished photograph through to where I started yesterday.

It has been a busy few days.

It is a busy time of the year, not necessarily in the gallery but with different art shows around the country. I provides me with opportunities to meet several artists in one location, which although the circumstances may not always be ideal does cut down my travelling by an enormous amount.

All of the shows tend to be bunched up into a small window of time, with several overlapping or even competing with one another, which seems silly as they have the whole year to plan and

most of them are competing for the same customers [we call them clients in the "art" world].

I have made six visits to four shows in the past two weeks.

Some good, some not so, but at least I have the chance to meet old friends.

The most recent visit was to 'Art in Action', which is by far my favourite event of the year.

There is such a large variety of work by the very best artists, all who seem to admire the work of each other that there is none of the usual big ego 'baggage' found at many of the other events.

The show is held in Oxfordshire [near to where I used to live in another life] and it is without

a doubt the best organised of the years events.

It is very educational, with all artists demonstrating their art or craft.

Stonemasons, sculptors, book binders, print makers, painters, potters.........the list seems endless. The very best artists, all of them selected for the event.

As an artist you can not apply, the organisers approach you, which seems to be the formula

for excellence of the work on show.

It seems to be a happy event for all involved, public and artist.

The location is beautiful and if the weather is kind it is an event to relish.

I would have relished it a little more had there not been as much travelling involved but at least I was able to meet and collect from some of our varied artists.

Because of the crowds there is never much time for talk, usually just a few words, and the promise of a meeting at the close of the event to load my car up with "treasure".

There is so much that happens and to talk about, most of it recorded on other blogs,

so I will just restrict myself to showing a few pictures of three of my favourite artists, plus a hint of their work.

Above is a tile by Iris [who is now doing work with Jackie].

The hand of Iris working on a new tile [she refused to let me photograph her face].

My friend Stephen Parry who has just finished throwing a large pot on a cartwheel.

Stephen next to one of his large pots [notice how they shrink when fired, or has he grown]?

Jackie Morris, drawing a picture at the front of one of her books.

Most people just sign them, not Jackie she wants to give every single person a unique book.

After four days of talking to people, asking about their children then drawing a them a special picture she must have been exhausted but she still had time to banter with me and to talk

about our exhibition together in September.

Talking of exhibitions, I was informed by Iris that she and Jackie have decided that they are

going to exhibit together in our gallery.

If only someone had told me.

Still, at least when they decide when in the future they will hold this event it will give me something to look forward to.

When I know I will let you know.

A miracle, it's only minutes since I last posted and I am writing again.

I suppose that I had wanted to give different ideas and exhibitions their own space in

my thoughts.

I still have lots to tell about the latest "show" and with luck I will come back to that.

With luck [and time].

What I am writing about now is in a way very involved with the work we are now showing, so I will tell you more.

John Maltby [one of the artists who is on show at the moment] has given me a lot of cause for thought.

He is without a doubt [love it or hate it] maybe the biggest ceramic sculptor on the English scene at the moment.

He has been around for a very long time, in fact he isn't a youngster,

this is something that I can say without worry as he told me yesterday

" I think we are very alike, neither of us takes ourselves too seriously".

Something that for me was a great compliment.

I will admit in the past I have been perplexed by John's sculptures,

I wasn't sure if I loved them or hated them.

They are very different, a little disturbing and very different to anything else.

He is famous, in fact he is very famous.

But fame doesn't always mean good as far as I am concerned.

In this case it does.

Recently, I started to look beyond the 'hype' and 'myths' surrounding his work [and the artist],

and questioned did I really like it, or was it just his fame that was drawing me to the flame.

I find it hard to believe how in a very short space of time I have become obsessed by his work.

Many people may think "why", it isn't pretty, but a lot more people will understand exactly why, it is so very moving.

To look at and hold a piece in your hands is an experience.

It is so hard to describe what it is that moves you so, but moves you it does.

For the first time since opening the gallery Irene [my wife] asked could she keep just "one" piece for herself ? I told her no, we sell beautiful things not collect them.

What a mistake, of course the piece she wanted was the first to sell.

I stood and watched her as she looked at it [she has been back to look since] after the sale,

and felt regret.

One piece of art she has asked for in 5 years, and I said no.

A regret I will live with as she does so much for others and never asks for any thing in return.

I suppose I am telling you this personal stuff just to illustrate how moving John Maltby's work can be. It has taken me by surprise how moved by it everyone seems to be.

He loves the sea and everything connected with it, so as I looked at one of his 'boat' sculptures the other day I found the words "Ancient Mariner" running through my mind.

Half an hour later I found myself writing to him.

This is a man who recently turned down what has been described as

"the most prestigious gallery",

who had approached him to do a solo exhibition.

Many people have asked why did he turn "them" down, that's because they didn't understand the man.

A staunch socialist, with strong ideals about making his work available to ordinary people. Wow, who does that any more? Almost unheard off.

So there I was typing away, putting heart to paper asking would he consider a one man show?

Titled:

'The Rime of the Ancient Mariner'.

If any person could bring this work to life I just knew that John could.

I sent the mail, then waited, and waited, like a child waiting for Christmas morning.

"Please do it", I kept thinking.

Two days later with just a few words he replied.

"I would be VERY interested in your mad idea, call me".

Later that evening we [both excited] discussed how it should look.

"I had sworn I would never do another exhibition, but I want to do this", he told me.

What can I say? Just how lucky am I?

An exhibition, in a way just one piece, although it will total twenty four.

An exhibition worthy of a museum, and I do really hope we are approached by a museum to

purchase it in its entirety, so it can be kept whole.

Twenty four pieces telling one tale.

I am lost for words.

We are a small gallery with big dreams

John has made one a reality.

The opening date? Who knows?

John thanked me for giving him his winters employment, so maybe early summer.

We will do our own small book telling the tale as seen through his sculpture.

I have many plans. We may have an actor reciting the tale, the walls decked with old sails.

Who knows? My heart sings at the prospect of the fun and pleasure I will have.

After talking with John I 'downloaded' old etchings of the story by Gustave Dore'.

Partly to feed my own excitement but also to encourage John's, although I don't think he needed it. As it turns out it is one of his favourite tails, one he purchased as a student, he even owns an old etching from the story.

But, this exhibition will be our story.

Well John's, but at least I will be able to boast "I was there".

Above are old etchings by Gustov and two of John's sculptures, which perhaps explain where it all began.

It's been so long since the last post I had almost forgotten my password.

However, I'm back after a too long absence.

I can't even remember all the things that have happened since I last wrote so I will just mention the things that are currently affecting my mind and heart.

We have had the opening of our latest exhibition 'Sculptor', and though I promised to record the changes taking place in the gallery as I set up the new work I didn't get around to taking any,

this is for different reasons.

Firstly, pictures taken inside the gallery never seem to show it, or the exhibits as they really appear. The interior of the building is very strange, old, unusual and hard to illuminate, and it

does have a atmosphere all of its own, but it doesn't lend itself very well to contemporary

photography, which is unfortunate because the age of the building makes the work really stand out.

Secondly, as usual some work arrived so late that there wasn't the time.

So that's my excuse for the lack of photographs, the lack of writing is due to many other things.

Every exhibition takes a lot of time and attention to set up, and without a doubt the latest has been the hardest ever.

With such a mixed and strange selection of sculptures it was extremely difficult to display and arrange them in a cohesive manner, so that each piece was shown with its best potential.

As usual other work had to be stored for the duration, something that I know angers some artists.

In truth, I know that the more important and bigger artists would have expected no different and would not have been in the slightest bit concerned.

Still, the packing, storing, unpacking, displaying and arranging is hard and time consuming,

in fact 15 minutes before this one opened I was still drilling holes in the wall for pieces that I had expected to be free standing, so when the exhibition opened I was as usual

"stressed, tired and ready for a drink".

After the event, I look back every time and appreciate that this is a lot of fun, but never at the time. The day after I am always deflated, and feel a little lost.

I have no goal or immediate challenge to occupy my time.

Sure I have a lot to catch up on, but nothing as exciting, worrying or challenging.

Of course, this is the ideal time to blog but I feel so washed out I can't find the enthusiasm,

So I put it off, for a day, and another day, then before I know it I am so involved with new ideas and projects I don't have the time.

So before I go any further I thought that I had better show a few of the pieces that are in the exhibition, then I will come back with a whole new blog about what has got me excited this week.

Mind, this still means that I am about a week out with different events.

Never mind.

Above is a fantastic Rook by Emma Rodgers

Two sculptures by John Maltby and a Horse by Paul Priest.

I have always said that I enjoy it when I have "lots of balls in the air" and the pressure is on.

I may have to re-think that one.

I do enjoy pressure and solving problems that have seemed insurmountable, but just every now and again "enough is enough" and I do question "have I taken on more than I can handle".

I have many things happening at the moment,

a new important exhibition opening this Sunday, talks with solicitors about the possible move to a larger premises, the ever ongoing dialogue with different artists, planning for exhibitions

up to the end of next year, organising the display and promotion of a large sculpture by Eve Shepherd which is going to be shown in Long Melford Church in aid of charity, wondering why I hadn't planned anything for Christmas this year, plus of course the very minor problem of ensuring we have sales to make any of the above achievable, etc,etc,etc.

I will stop there as the list is starting to bother me, plus I have started to think that some of the above plus other things not mentioned are worthy of a post by themselves.

So, in case nothing else happens to me in the next month I will hold some bits back.

Apart from the many things occupying my thoughts there is also something else that is happening which I can't ignore, even though I don't have time to handle it as I would like to.

Each year in many countries an event takes place called

'The Affordable Art Fair'.

In London it happens twice each year, Spring and Autumn.

It is the most attended art fair in this country, and as such makes the reputations of artists and galleries alike. The event is host to galleries only not individual artists,

it is highly prestigious and very expensive, the event might make or break a gallery

but then so might the cost.

Even so, the exhibition is over subscribed and stands are offered to galleries who have shown in previous years. To get a place a new gallery almost has to serve an apprenticeship, doing some of the other very important fairs around the country drawing attention and then hoping that patience pays off.

Patience? What's that.

Unfortunately, I am a very excitable person, I grab an idea, don't think of any of the problems

and run with it. Stupid I know.

But I just think that life is to live, and I have wasted far too many years of mine to sit back and be patient now. My problem is that I sometimes I think that I "can move mountains".

Of course I can't, but I haven't grown any wiser with time and experience.

Still I'm only 18 [in my mind].

So knowing that I couldn't get a stand at the A.A.F. I wrote and asked for one anyway.

After being told several times that there weren't any available I continued to write and put my case as I have often found that "genuine" appeals from the heart sometimes break down barriers. In our harsh old World of today there are still some nice people out there who want to give the underdog a chance.

So finally against all odds and expectations I have been informed that there is one stand available, with many applicants applying for it.

A decision will be made later this month to decide which lucky gallery has this place.

The criteria is quality of art to be shown [plus also the ability to find an enormous amount of money in a few weeks].

I can't tell you how excited I was to be given this chance.

Against all odds persistence paid off.

So what do I do now?

I am not too sure where we will find the money [donations accepted],

but I am positive that we can give everyone a "run for their money" when it comes to

the quality of work to be exhibited.

With a ridiculous deadline to aim for, and so many things to do plus an exhibition to set up, I have been calling and mailing my friends.

The very best artists.

Could they get pictures to me within three days?

Nearly all of them understood how important it is to us.

If it works it would put us firmly on the art map, hopefully with their work also.

Some of course like Jackie Morris don't need putting on any map,

but so characteristic of her she was one of the first to respond.

Louise Richardson who has a solo exhibition scheduled with us for October [the same month as the fair] told me to forget her exhibition and use her work in the A.A.F. event instead.

It is so good when you have had a nice opinion about people and then it is reassured by their selfless actions.

Well, I have pictures from most of the artists that I would like to show if we are successful, and

these will be submitted tomorrow.

From then it is in the "lap of the Gods".

I don't know what to expect, I'm scared and optimistic at the same time.

"Us", in London?

What a strange thing.

But I would like to thank my friends who responded [very quickly] and sent pictures of their work.

I know I can be a strange old sod, but thank you for seeing past that and understanding that

I do love your art and really want to share it with the world.

I can't show an image of every ones work so I just at random picked on a few that were to hand.

So above are.

A gorgeous pot by Adam Frew, who lives in Northern Ireland

From Norfolk, a dress made from nails by Louise Richardson.

"Infinity" [in bronze] by Irish sculptor Ana Duncan.

The artist who lives the closest Paul Rumsey "Library Head"

Would I ever be able to leave out the strange woman from the wild Pembrokeshire coast

Jackie Morris

Her beautiful new painting, "Wolf Brother".

Fingers crossed.

"If I don't do a post tonight I will probably never do another one",

or so my thoughts have gone.

There has been so much that has happened and so many miles travelled since the last post

that I don't know where to start, or end.

So I decided that I would just leave out a large chunk of my life and just record perhaps the most memorable piece.

Our next exhibition which features five different sculptors has perhaps preoccupied me so I will just talk a little about this, although inside I want to shout out

"hey, guess what has just happened for us"?

Hopefully I will mention [definitely, better or worse] to you about might happen soon

that maybe might put us on the "map" in the art world.

Also, I will talk about what will happen with the gallery as we may be[or not] moving soon.

But for now back to the most interesting/exciting thing that has happened for a few days.

After spending the weekend at a ceramic fair in Nottingham I travelled further south to Devon to visit the famous ceramic sculptor 'John Maltby' who features in our next exhibition.

I had no pre-conceptions about what he might be like, but after talking to a couple of ceramic sculptors at the Nottingham show I became concerned about my coming encounter.

Just what sort of man would I be meeting?

Arriving at the home of John Maltby I was waived into the drive by a frail looking man.

This was John.

I had been prepared for a Giant or a Troll shouting at me to go away.

Instead, I encountered one of the nicest most gentle of men I have ever had the pleasure to encounter.

I was privileged, because although obviously very ill John acted as if I was the only person who had expressed an interest in his work or come to visit.

I wished that I had the time and patience to talk about all that happened, but I haven't.

If you ever call in the gallery I will tell all.

To summarise, I was humbled, awed, and enthralled by this humble giant of an artist.

In the past whenever I have visited an artist [of any description] I have felt that their art was diluted by seeing such an abundance of the art on show.

Not this time, I wanted to see more, for once "more was more",

although I must admit that

having explanations of various pieces really brought them to life and made them seem so very special.

John explained that the sculpture that I used on the invitation was of his wife.

Sadly she has passed away.

In my mind I had been sure that it was his wife but I asked him to explain it to me.

The sculpture shows an angel hovering over the garden with a watering can.

He explained that his wife who was wheel chair bound loved the garden, and would sit watching and directing him as he worked in the garden.

Now, of course as an Angel she would be caring for that garden.

Other stories he told me explaining about "Kings and Birds", "Dark Angels"and

"Viking visitors", will remain in my mind for a long time.

Not only did I feel very privileged to hear these explanations I also felt very humbled by the presence of this man.

I left feeling that I had made a friend, for what remains of both our lives, and also feeling very honoured to be showing his sculptures.

" I have wanted to meet you, as you seem to have a very unusual gallery".

He told me as I departed.

The words have echoed in my mind many times since.

Much of the art I collected are wall sculptures,

these need presenting in frames, so a trip to my framer Neil

was the first thing that I did on returning home.

Neil who was a teacher at St Martins Collage of Art and is a sculptor in his own right loved the sculptures and asked could he frame them as he felt was fit.

"As long as it doesn't detract from the sculpture", I told him.

I should have known better than to have spoken.

This afternoon he arrived with the first "test sample" for me.

It is beautiful and I really don't want to sell it, it was a case of one artist respecting another.

I told him to go ahead with the rest in whatever manner he felt fit.

I want to talk more about John Maltby as he made such an impression on me,

but I really just don't have enough time to spare.

Let me just say something that I have mentioned before.

"The greater the artist the nicer the person".

Below are a few pictures of some of John's work that we will be showing,

before they were framed, plus a picture of the "Gentle" man himself.

Thank you John it was a visit I will never forget,

even though at times we both struggle to remember our own names.

It is a hot and humid evening, outside there are people in the street sitting enjoying ice cold

beers at one of the villages six pubs

[alcoholics are well catered for in Long Melford].

I just wish that I could join them but unfortunately I am still sitting in the gallery

which is not unusual, but today I would have liked to have gone home early for a change.

the reason I am here is because I am waiting for a delivery from "the printer".

He has been working on the new invitations for our sculpture exhibition which starts in July.

For once I am well ahead with preparations [that can change] and to have invitations this early is really unusual for me, but I must have at least a few hundred this evening because tomorrow I am visiting a large ceramic fair in Nottingham,

considering that the majority of the sculpture in our exhibition will be made of ceramics it seems a logical thing to drop off invitations at the fair.

One of the sculptors best known who will be showing with us is a lady named Emma Rodgers.

Her work is widely collected on many continents and although we have shown her art in the past it is still something of an achievement for us to have her here.

A while back I took out a page advertisement in a National magazine to promote the event,

after a lot of consideration I chose a picture of one of Emma's pieces to illustrate it.

Two days ago Emma called me to thank me for featuring her sculpture,

"that was really nice of you to do that".

It made me think "just how many artists as big as her would have bothered"?

Lots of them expect it as their due, so it was appreciated that she understood that it

represented a large financial commitment from us.

But of course that's OK as we hope to benefit from it also.

"I was thinking", she said. "As you have featured that sculpture you must have it in the

exhibition, you can have it instead of the Boxing Hares".

Knowing that the Hares stand about five feet high, and this was to replace them, I asked.

"How large is it".

"Oh, about eight feet tall".

I think we will be having the Hares.

The sculpture she had referred to was a bronze 'Dancer'. Emma is renowned for her

sculptures of dancers, she names them after the women who modelled for her and when they

are seen in groups it is possible [although no features are shown] to recognise the individuals

just from there different postures and movements.

But, this large 'Dancer' is like nothing I have ever seen,

at the moment it resides in a museum

and it is incredible to think that it was being offered to us.

When Irene first saw pictures of it she called me from home to say

"I think it is the most beautiful piece she has ever made".

Perhaps it is.

Not only is it massive but it is also very unusual.

It appears that a piece of dress is flowing behind the figure, but on closer inspection you

can observe that there is much more than fabric being shown.

A city skyline can be made out emerging from the fabric, it is possible to make out individual

buildings [there are even Ruby's set amongst them].

The skyline is Liverpool. Emma's home and birthplace.

The museum where it is displayed is the one she used to visit as a young girl, marvelling at

the work, and famous artists displayed there. It was one of her inspirations.

I know that she is so proud to have her work shown inside those walls.

How lovely for us, that she was offering this significant work to be shown here.

Unfortunately, I just don't think we have the space to do justice to such a sculpture,

so with reluctance and a heavy heart we will have the Boxing Hares.

I'm still trying to work out what the bad news is.

If, having a sculpture which is shown at the V&A Museum is the bad news then I want more.

Well, this brings me to a timely end, as a gentleman has just arrived with boxes of invitations.

I've checked and they are perfect, so it's time to turn the lights off close the door and to

go home and enjoy what is left of this lovely evening.

Above is the advertisement featuring the 'Dancer' [look for the skyline].

Emma at the museum putting some finishing touches to it before it was first shown, then some of the other pieces that will be on show [and for sale] at our exhibition.

One of Herman Muys [famous] 'Throne Figures', and also a Horse by him, followed by a

Paul Priest sculpture titled.

'Awaiting the Raptor's Return'.

I often look at the blogs of artist's sculptors and potters and marvel at how interesting they are.

Many times this is because of the unusual life they all seem to lead, but also because

many times they show "work in progress", and this I find totally fascinating.

Seeing something evolve from the original doodle or design, through the various stages of creation until at last a beautiful work of art is born.

It has made me feel that what I go on about and the things I show as being a little static and not

involved with creation enough.

I consoled myself by thinking "heh, I don't get out much and don't have time to create anything".

But on consideration, of course I do. Every time a new exhibition is set out this is a form of creation so I decided that next time [in two weeks] I do this I will record the changes that take shape within the gallery.

" That should be more interesting", I thought.

Meanwhile what other things could I display that would show a creative process?

It was obvious. Me.

Or more precisely one of my photographs, or the creation of it.

People often tell me that my photographs look like old paintings, in fact I am told that they look like the paintings of Vermeer. I am not saying this to boast, it is just a coincidence, in fact I had never heard of him until I was told that my photographs looked like his reminded people of his work. As a result "I looked him up" and found that of course he was the man who painted

'The Girl with the Pearl Earring'.

A film I had never seen at the time but which is now one of my favourites.

Once I had recognised myself that some of my pictures did look like paintings I decided that the one thing that I would "never" do was to try and re-create a painting as a photograph.

But, I have always really loved the famous Pre-Raphaelite painting 'Ophelia' by John Millais.

I find it so very sad, gentle and moving, and very beautiful.

"Could I reproduce that as a photograph"? I wondered.

Ignoring my own rules I decided to give it a shot.

Anyone who has seen more than one of my pictures will notice that the same girls appear,

in different cloths and in different locations [more about this another day].

So I asked the "usual suspects", would one of them be prepared to lay in a stream or lake,

clothed in a period costume while I took photographs.

Three of them agreed so I knew that this could actually happen.

However, a long period of time passed and none of them settled on an actual day to do this.

With the passing of time it became obvious to me, they had given it thought and decided that

although I might be mad they certainly were not.

So I accepted that it would never happen.

Then one day I had a call from one of them, "when are we going to shoot this picture"?

It was October, and though the days were bright and sunny it was very cold and with morning frosts just starting.

I replied that I didn't know if it was a good idea as it was so cold, but "I would if she would".

We agreed we would try the next day, on the understanding that if the water was too cold

then she wouldn't do it.

The water was freezing, but much to my delight and eternal gratitude the lovely girl decided to go ahead and immerse herself.

The location was a small stream about a mile from the gallery [I didn't at the time, but now I live with this stream running just a few yards from my door].

Alice O'Mahoney is the name of the model and I will never forget that cold bright morning

when complete in 'Tudor' costume she lay down in the shallow stream.

I intended to just take a few shots of her so that she could get out of the water and then intended to take more pictures later, as I knew that the finished picture would have to be built as a montage of different shots.

I took about 5 pictures then announced "OK, that's it get out before you freeze".

As she climbed out of the stream I realised to my horror that her clothes were still dry on the front, because of course [true to the painting] she had laid on her back.

" No good, you will have to do it again, you are supposed to have drowned, you need to be wet all over".

Without a murmur poor Alice stepped back into the stream and fully immersed herself.

This time I decided that I would really have to concentrate and make sure that I got the pictures that I was after. I became so involved with checking the camera settings, getting the angles right I forgot about Alice until through clenched teeth she whispered

"please hurry up I'm so cold".

I felt awful, I had totally forgotten about the young woman, alive and very cold, laying in a stream on a winter morning. To me she had become the drowned woman of the painting.

So we [friends] got her out of the water and took her indoors for a shower and a hot "cuppa".

Later in the day we shook hands and agreed that if ever anything [good] happened with the

picture we would share the proceeds.

The making of the picture was published in a photography magazine but no payment was offered, and to this day there has never been any commercial interest in it.

Alice went on to become an archaeologist and I a gallery owner.

But I will never forget that exciting day, the wonderful girl, and of course the finished picture.

I went back the next day and took many more "detail" photographs

[ including the plastic flowers that I planted].

As I took these pictures a Robin kept flying from branch to branch and appeared in many of my snaps. So many times I decided to leave the bird in the finished picture,

which was made up from 36 different photographs.

I'm glad that I did, because much later I was told by an artist friend

"He loved the fact that I had included THE Robin".

I looked again at the original painting, and there unknown to me was a Robin,

observing the drowned Ophelia.

Obviously some things are meant to happen.

Above is the final picture along with a couple of "on the way" montages and two of poor Alice

drying herself and 'on route' for a shower.

Thank you Alice, I haven't forgotten our "handshake", maybe one day someone will buy the picture and make your efforts worthwhile.