It is impossible to run a gallery and show the very personal work of different artists and just treat it just as a normal job.

What they are making, what they are up to in life and their well being is something that becomes very important.

Basically, I suppose what I am trying to say is that they become your friends.

Without intention and usually with just the occasional meeting they become very important to me. In fact I admit with some it perhaps goes too far and we argue, sulk,

and sometimes even fall out for a while.

I think it is all because what they produce is so important to them and then in the same way becomes important to me.

I can't think of any other group of people or individuals [outside my family] whose lives have ever become so entwined with my own.

Many days I will have go through my mind

"I haven't heard from XXXXXXX for a while, I hope they are OK".

But as Irene has explained to me many times they have their own lives to lead, and just because

they haven't called for a recent chat doesn't mean anything.

I think that is the way it works with friendship, and I certainly know that with some artists

the fact that we don't talk often means nothing, they know I think about them and vice versa.

Perhaps this applies to one artist more than most.

He is Mark Rowney.

In fact I have a vague memory that he was the subject of my first ever post and if I had the time he would be the subject of many more, or perhaps even a book, as there is so much to tell.

The short story is that Mark was raised as the son of a cowboy

on a Ranch in North Yorkshire.

You don't see many of those nowadays [if ever].

The rest as they say is history, or a least a very long story.

After many adventures [and even more careers], in various countries he eventually

settled down to a life of being an artist back in the County where he was born.

But what an artist he had become, his unusual life has left him with a wealth of varied talents,

from his stunning paintings on wood to his equally amazing leather carvings.

We are fortunate that he allows us to show a variety of his different works and I am never sure what I love more, in fact I am not even going to try and compare them.

I love them equally

It is a little like having two or three artists who share the same name.

Towards the end of next year we are going to be holding a solo show of his work,

something that I am really looking forward to, and what is nice so is Mark, the event will be

a pleasure for us both [and a great excuse to have a pint and a good chat].

He is one of those people that when we occasionally talk the conversation will be something like

"I was thinking about what you said........................."

and this would have been something we may have been talking about months before.

So it is always a pleasure to hear from Mark, and today more than most.

Last week marked the opening of a new gallery in North Yorkshire, well not really a gallery,

a complex of artist studios plus a gallery area which caters for every kind of artist

from painters, sculptors, blacksmith's to recording artists.

The new studios were to be opened by His Royal Highness Prince Edward and it was felt that to mark the occasion he should be presented with a special gift,

something that spoke of the art of the region.

Of course the artist chosen was Mark Rowney.

His gift.

A book, carved from leather and which took a month to create.

None of this I was aware of until today when I received a "what I've been up to" mail

from Mark, written as usual in his casual unassuming way.

He included a few pictures of the book covers and himself with Prince Edward.

What struck me as really important is that the work [books] he has sent to me are equally

as beautiful and must have taken the same time to make as each was special for our gallery.

So Prince Edward is a fortunate man but I think he was aware of that as he has promised Mark that he intends to write in it regularly [it is a journal], and I am sure he will.

The one difference between "his" meeting with Mark and my own is I doubt that Mark asked

"have you got time for a swift pint before you go mate".

But knowing Mark nothing would surprise me.

Above are a picture of the front and back cover, followed by the bookends

[note the Royal Crest on the butterfly].

Then Mark with H.R.H. Prince Edward, with some of Marks incredible leather pictures

in the background.

I'm not positive but I'm pretty sure that in the last picture Mark is saying

" you sure you wont have just a quick half then, I'm buying "?

Or maybe it's only me that is lucky enough to receive those special invitations.

Well done Mark.

Should I do a short post, or none at all?

When I am in the mood and have the time I enjoy clearing my cluttered mind and writing about things, but there are times [most times] when I haven't the time as there always seems to be "just one" more important thing to get done before giving myself the luxury of writing.

Little things, like answering a telephone every five minutes.

Hey! I spoke with an artist [Jackie Morris] yesterday and she has told me that she is getting the patent on a "bouncy phone", one you can throw at the wall went it rings constantly.

She has one definite sale here.

I love the thought of throwing it out of the door and shouting after it "and don't come back".

It's nice to dream.

So I am going for the short post.

At the moment we are holding an exhibition featuring the work of four different artists.

I have already shown some of the ceramics we are showing by John Bedding

and without a doubt I will show others in another post.

They really are some of the best pots that I have seen for a very long time, pictures just don't do justice to their beauty, plus the scale that he works at is unbelievable.

From very small through to gigantic pieces and what is unusual is that he can enlarge the scale of a pot yet still keep its form and beauty, something that not too many potters are able to do nowadays, sometimes it seems to be a case of "it's big so it must be good" but for me that doesn't work, big isn't always better but in John's case it is.

They look dynamic, and I don't say that lightly, it just looks as if I am going to have to purchase one for myself.

Decisions, decisions, what a lovely dilemma to have with his work.

John's ceramics are not the only beautiful things that we are showing, there are many different

pieces of art on show.

Some by a man I have been wanting to show for a long, long time and now at last his work is here and I can really appreciate the beauty of it.

Jan Morgan is the artist, a sculptor.

What I so love about his work, apart from the skill involved is the narrative in each piece.

I love story telling, in fact I think we all do, and when I look at Jan's sculptures my mind races

off on different journeys making up different tales that end frozen at a point in time which is

what Jan has captured.

His idea of presentation is second to none and I just know that we are going to see and hear a lot more about his art in years to come.

For now they are mine to enjoy.

Apart from the exhibition which I shall return to, I have a lot on at the moment.

It is coming to that time of year when almost every artist in every genre's is showing at some

large event somewhere in the country, and of course they are usually far apart.

So I have the calendar on the desk covered in dates and locations.

Some I will make others I will regret missing so I just have to hope that I make the right choice of locations and artists to visit.

At least it will give me a legitimate excuse for a mini holiday, with time to think and plan.

Driving for hours isn't fun but at least it enables me to think over future plans and ideas.

Of future plans?

We have a massive one taking shape at the moment.

Now, that really will be a long post [or many] for the near future.

What a tease I am.

Thinking about things that I should have written about, but didn't get around to I thought that I might show you some art that has really been occupying my mind and getting me excited.

"Thaddeus Erdahl".

The wonderful thing about the Internet and blogging for me is that it opens up the whole world,

so no longer do I feel that I have to chase after the over exposed English artists, I can now look and lust after work on a worldwide scale.

Can you imagine just how frustrating that is?

There are lots of artists out there but every now and then I am able to discover

something that is to me "real gold".

As I have said many times, everything that I show is for my enjoyment and pleasure.

It is these pieces of art that sell for me, maybe it is because like minded people come into the gallery knowing that they might find something they are searching for, or maybe it is because I talk more [non stop] about the things I love.

Not to try and sell them, just so that I can try and make people appreciate them as I do.

The trouble is it that it usually works and then that particular piece disappears to a new home.

So back to my current love and obsession.

The incredible, strange, disturbing, beautiful and so well crafted sculptures by Thaddeus.

I can't remember how I discovered him [he wasn't lost, I just found him],

but I am so pleased that I have.

One day before too long some of his strange work will be here on display,

and for me that day can't be too soon.

As soon as they arrive I will show you our strange new treasures, but until then this is a sample

of what I hope will arrive one day.

It seems so odd, these works coming from a place I haven't been to and from an artist I haven't met, but it also seems so normal.

We have met, in a different way, and do know a little of each other and it is the fact that we both love the same things that makes it all seem so normal.

With such a long gap it's hard to know where to start, the longer it has become the more I have felt inclined to leave it "until another day".

The realisation that another day means "sometime never", made me decide to focus a little and at least write something, so for what it's worth here it is.

I find it hard to believe that we have gone from one exhibition to almost another and that I have written nothing about daily events.

They couldn't have been that interesting, I tell myself.

A new exhibition is almost upon us, I admit that this has caught me out a little because for some reason I thought that I had another week until I had a call from my printer asking me

"are you sure you don't need these invitations sooner".

Blimey, I did, what was I thinking of.

So at least they have arrived in time, been sent out, and as as a result I have become a lot more focused.

For the first time ever we are going to hold a "Summer Exhibition".

I have always thought that these sort of titles were a bit of a "cop out" and I have interpreted

Summer/Autumn/Winter/Spring exhibitions as meaning

"this is all we have, we can't think of anything so come and buy it anyway".

So to think that the day would come when I would do such a thing was unbelievable.

Until.

Until that is I decided that there were a few artists whose work I was longing to show but they, or us weren't in the position to have a solo exhibition.

I struggled to find a name or a reason to hold an exhibition involving them all until in the end the answer came. "Summer Exhibition".

Well it is summer, and these are people that I really want to show, and will do again in the future with solo exhibitions of their own.

The first person whose work I am showing you is a St. Ives potter named John Bedding.

I have mentioned before that once I was a potter.

This is back in the days before potters shows and similar events existed, then the only way you could sell work was from the workshop [studio is the name now] or in a gallery.

In those days there was only one major ceramic gallery and that was called the Craftsmen Potters Association.

Since then they have gone upmarket and are now called Contemporary Ceramics.

After all how can you have the word "craftsmen" when females are involved.

I wonder how long before someone decides that there are racial issues and the name will have to change again. Sometimes, "just sometimes" changes seem so silly and seemed to be aimed at idiots and bigots, where has innocence gone?

Anyway, since I am not standing for a place in Parliament I had better move on.

Back in those days everyone was given a six month probation period in the C.P.A. in case the quality of your work dropped, or just in case the pots you were accepted by were the only six good pieces you had ever made, if on re-appraisal it was felt you weren't delivering the goods then you were out.

Of course nowadays you are in for life no matter what you go on to make afterwards.

So of course it is obvious that after being accepted I was then kicked out six months later.

Of course I would love to talk about this at great length, and would love to name the committee

members of those days.

But am I going to be childish?

No, I will leave that for another day.

The result was that my sales disappeared, and I couldn't sell enough from the pottery to support a young family.

If only those pottery shows around the country existed then my life would be different now.

Not better, just different.

Now it has all turned around and potters ask "what do galleries do"?

I have just showed at the "Potters, potters and more potters" show [or similar] last week and I made a bundle,

Who needs a gallery?

Alas, as a young man this wasn't the case and with the need to provide for a family I closed my pottery and took a job in London that paid a real wage.

But I remember my last night as a potter.

I took my dog for a walk on the Essex marshes where we lived, sitting down with him on a small hillock I looked back into the distance at the pottery.

The roof tiles glowing deep red with the setting sun, and I could see the tip of the kiln chimney.

I tiled that roof, it had been a derelict barn open to the elements before I restored it from the ground up.

It was a silly thing to do as it was rented from the local Church and would never be mine, but sometimes you do silly things if it makes you happy, and having that workshop gave me a lot of happiness. A lot of heartache, but it made me happy.

So with my arm around my dog I looked back at a dream, then took him home and turned my back on pottery.

For many years, I had no interest in pots, or potters. Indeed I wished never to see a pot again.

Until.

We had a family holiday at St Ives in Cornwall.

Every evening we would walk down to the waterfront, get bags of chips a feed seagulls,

all those usual holiday things. What wasn't usual is that each evening we had to pass the window of a pottery, of course I would stop and look and remember the past, but as the week past I realised that I really loved these pots, and one bottle in particular.

It was different to anything I had ever seen and really stirred all of the emotions that had been long buried, I really wanted to own it.

On the last day of our stay we went to have our last fish supper, this time the pottery was open.

Irene went in and purchased for me the pot I liked so much.

It was by a potter named John Bedding, an apprentice of the famous potter Bernard Leach.

This pot changed my life.

I fell back in love with ceramics, and is perhaps the reason we are here today with a gallery.

John Bedding's pots are going to form part of our Summer Exhibition.

Next year he will be back with a solo exhibition.

So it is really mixed and personal emotions that I will showing his work.

I love it.

The 'Ancient Mariner' art that I am showing today is chosen because these are the pictures that I had ready and was happy with.

I was going to show two other talented people but on consideration I didn't think that the

images did justice to their work so I will try again tomorrow.

However I am more than delighted to be able to show the work of sculptor Eve Shepherd.

The pictures again don't do justice to the work, but these sculptures seem almost impossible

to capture with the camera [sometimes it happens] so these are the results of the best efforts by Eve and myself.

Eve is a pretty famous sculptor by any ones standards and has become one of my favourites,

but this wasn't by intent, just accident.

She contacted me a couple of years ago saying

"I believe that you show ceramic sculpture, and that's where I want to go".

That sentence is a slight compression of an hour long conversation, so I admit that I have skipped a little piece here and there.

I had no knowledge of who or how well known she was, and I don't think for a second that she expected me know to of her.

She really is not that sort of person.

Eve is someone who takes her art very seriously, but outside that she

is such a lovely down to earth grounded person.

Obviously I now know of her fame [and have even watched her on TV

but it doesn't make the slightest difference.

She is still just Eve.

I like to think that we have become good "mates", or as she told me a few days ago "we work together", having come to regard her and her work very highly words like that meant a great deal to me, but I know she is right we do.

Both mad as "hatters", we have brilliant, exciting conversations together and I always put down the telephone with a big grin on my face.

Believe me that rarely happens.

She doesn't need to be involved with a gallery as small as Imagine

[not when almost every gallery and auction house is asking to show her work].

But she has chosen to, and although I shouldn't take that lightly I do, because like I said we have become friends and with good friends you take them for granted, which I know you should never do but it does make for a much nicer life having the knowledge that

"they will be there for you".

Not that this was the case with "The Mariner" exhibition because unknown to me it was her

favourite story, had I known or approached her earlier she would have filled the place up with her sculptures, so excited was she to work on this theme.

These three pieces by her are a total departure from her normal work, and I absolutely love them. To me they are the old Gustav Dore engravings brought to life.

When I first received her pictures of "the work in progress" I was so excited that I wanted to share them with someone so I sent them on to sculptor John Maltby.

He came back with the response.

"the best work I have seen in many a year".

So eventually they were fired [they are ceramic with copper] and were delivered.

After seeing them I called Eve to say you "will never see these again because at least one is coming home with me".

But I have said that many times about lots of different art that passes though our hands and

unfortunately I recognize that we are just temporary caretakers of these lovely objects.

So above we have three different sections of the story as perceived by Eve Shepherd.

I will add that in the first picture 'Merciful Spirit' the sculpture is mounted on a piece of the old Brighton Pier.

I asked her could I name it "Mariner's Day Out at the Seaside".

"No".

I have been thinking that I should be showing pictures of the different works in the order that they arrived here, but I'm afraid that I can't, as the temptation to show the work of one lady was just too much to resist.

There are different reasons for this, one being that it was the last piece to arrive from America

although there is still a lot missing

or being dissected in customs that we are waiting for.

[Now that's got to be a good job, opening other peoples things, re-packing them badly, and then charging them for the privilege. Of course interspersed with lots of tea breaks].

But someone has got to do it.

I have gone off the track a little as I do.

The main reason that I am showing this piece of work is because the artist is the first person that I approached sometime about a year ago.

Well in fact she was the second person as originally it was intended as a solo exhibition by the sculptor John Maltby, but after a few weeks into the planning he wrote to me and said that he

didn't need the pressure of another solo exhibition as his health was too bad, he explained that he needed less stress and pressure, so urged me to make it a group exhibition.

So after sulking for a while I realised that he was right and in fact it would be much more interesting showing the interpretations of various artists, not just one.

So where should I start and who should I ask? I wasn't sure.

One week later I met a woman from Washington, who just happened to be showing

a few sculptures in the Lake District [like they do].

I was totally smitten by her work and was determined that I wasn't coming back to the gallery without some, which was lucky as she was equally determined that I should take

some with me.

So that is how I met Novie Trump.

The first person to agree to participate in this exhibition.

A year later in honour of our meeting her contribution became the cover for the invitation.

In fact she had made three sculptures but only this one survived the making process, she did describe the others to me but it only depressed me to know that I [not anyone] would never see them.

However, I might prevail upon her to re-visit the theme and try again.

But there I go being really presumptuous as usual.

The sculpture she made is beautiful, it is a 'Reliquary', almost a Tomb made from ceramic and shows the dead Albatross sealed behind a glass panel.

What is more amazing is that the glass panel is engraved with script from the story.

Underneath this there is an antique compass inset into the ceramic.

It was just the sort of mad, unusual, exciting and beautiful piece I knew she could and would create.

So when long ago she sent me a photograph of it I decided that it would be the invitation cover,

as my mind went back to when we stood in a field discussing what things could be made, conversations like "you know what would be really good"?

We have all had them at some time, and it is from these sort of chats that beautiful things

become a reality.

So, as she was the first I am letting her jump the queue of whose work I am showing.

Another nice thing is that not only did she send this piece

but she also included a couple of smaller sculptures for our "next" exhibition.

Even better still she included a small sculpture as a gift for me.

I don't know what I have ever done to deserve it, but I love it.

I'm in a bit of a "dither" about what I should show you next,

especially as something long awaited and eagerly anticipated arrived this morning from America and I want to show that but I'm not sure that it will work if I "mix & match" different types of work so I have decided to go with what I had intended, especially as this will take four pictures to show.

It is a very large 'Harvest Jug' by the Devonshire potter Doug Fitch.

It is strange that Doug is someone who seems addicted to modern day technology but when it

comes to his art he is firmly rooted in the past.

Making terracotta ceramics in the style of the old country potters.

He is a strange man, in as much as he seems to worry and be unsure about his own work but is always first to spot the talent of others and to promote them and their work.

I somehow think that with his own pots they will never be good enough for him,

but the next one he makes might be.

So he always strives to achieve perfection.

It is funny to think that this country potter who works from a small workshop hidden away in a remote part of Devon

[and let's be realistic all of Devon is remote if you live near London]

is known of and admired around the world.

This offering by Doug is a little bit of a departure from his "normal" work as he didn't decorate the jug himself.

He conceived it, threw it in two parts, dipped it in slip [white clay] the handed it to a good friend of his. Andrew Grundon.

[Like I say he is ready to promote the talent of others].

Not exactly another potter as Andrew is a Sign writer.

Well at least I think that is the official description for his amazing works of art.

Treating the [then] white pot as a blank canvas he drew and scratched through the surface

of the slip to reveal the red clay beneath.

This offers a very simple explanation to what is incredibly skillful, or it certainly is in the case of this jug.

He has chosen a section of the story that is perhaps less known and certainly not an

immediate choice. For this I like it even more as he obviously studied or knows the poem well.

I have tried to photograph it but nothing gave an impression of how it really looks, so I have shown four different aspects so that you can gain an understanding of how it is to look at and hold.

The jug is large, strong and well crafted, coupled with the incredible decoration it really is an object of great beauty.

What is strange is that although it is less than a week old it really does look ancient.

After the "Ancient Mariner" opening yesterday there is nothing I would have liked more than to take the day off, to gather my thoughts and reflect on events.

But there is certainly no time for that, there are still a lot of exhibits that are missing so I thought it best to spend the day trying to track those down and find when [if ever] they might arrive.

Come this evening I am no further forward and still have no idea of where things are, or when

they might reach us, but on the positive side I did have a curt email from one international courier demanding to know our "company" details.

In real language it means

"we intend to send a big bill before you get anything".

So perhaps wheels are turning, and who knows?

Maybe one day they might find the time to deliver something.

If they do I must remember to mail and thank them for their efforts.

Having no luck with couriers I spent the remainder of the day photographing different things

that have arrived, with the intention of putting them on the web site.

This is always something that seems to take so long.

I am never happy with the pictures that I take and I really feel that if I can't "do justice"

to the work then it is better to show nothing rather than portray something indifferently.

Maybe [most likely] I'm wrong, as perhaps people only need to get an idea of how something looks, who knows?

I have managed to get some things photographed, but unfortunately this had to be done outside in bright sunlight as my "remote flash" has decided that it doesn't recognize the camera anymore.

Which is odd, as they have been good mates for a couple of years.

Still, that's relationships for you.

So here are a very few of one mans work.

These are of the leather 'Ancient Mariner' journal by Mark Rowney.

The pictures "really" don't do justice to the work, but I wanted to show it anyway.

It is covered with text and pictures from the poem and is stunning.

Mark is such a very clever and most unusual artist.

If he is not painting incredible pictures on wood then he is creating something equally as unusual from leather. I'm not sure how to describe his leather work as it is somewhere between art and sculpture, but I do know that it is very, very clever and beautiful.

How many hours went into the making of this piece of work I couldn't guess at, and I am very

grateful and moved that he went to so much trouble for a group exhibition.

Incredible art and no ego involved.

So Yes,

I will mention it, after great deliberation,

this was such a contrast from one artist who had asked for a solo "show" with us and who had agreed to be part in this exhibition to "test the water" with her work.

Who even after being given a gentle "nudge" even a week ago,

"I'm still working on it".

Decided to send nothing.

Her name was on the invitation, but we received nothing, not even a courtesy call.

Let's face the fact, group shows are about good work not individual ego's.

With some people it is all about "Look at me".

For this reason I intend to show you a lot of the work by the very talented people who became excited about the "theme" and were happy to be part of the whole, to create good work and to exhibit alongside other artists they admire, with no thought of personal recognition.

There are a lot of very nice artists out there.

When it comes to ego's?

Blimey! After fitting mine in there is no room left for others.

I should have understood that when I decided to hold an exhibition upon a theme which was based on a tragic tale it was going to be fraught with problems.

Especially when it was showing the work of twenty five artists.

But I didn't, which says a lot about me. "Hey," that might not be all bad, maybe it shows determination, or perhaps just plain stupidity.

It has certainly taught me a lot about the nature, and generosity of some "artists".

There were four American artist/potter/sculptors involved in this themed show.

Each one of them has produced exceptional unique pieces, for which I am so very grateful.

For them to take such a "leap of faith" was a very kind thing to do, and I have been really excited in the anticipation of seeing and showing their art.

Alas, we have all been victims of the various couriers and the 'customs'.

Only a fraction of what was anticipated has arrived.

Of course I am disappointed, but even more I feel very upset for these people who have taken a chance on "this gallery" in England but who will be unable to have their work on display at the opening.

In reality I suppose that it is not too important, as long as things arrive in the next few days

because the show is on for a month, but it is a great shame as these people deserve to have their work seen by the greatest audience possible.

Whatever, I know that you mustn't advertise on blogs so I suppose you mustn't bad mouth either which is a shame because I would love to bad mouth and ask people to avoid a certain shipper who in my experience is the worlds worst.

So this has made all of the pre-exhibition concerns even more worrying than usual.

I just haven't known what to do.

Do I take a gamble or do I resort to 'Plan B'.

Trouble is there never was a Plan B.

I assumed couriers would deliver, and perhaps that was a silly thing.

So faced with a few gaps to fill, and in anticipation of work not being cleared by customs or delivered on time by couriers

I started to give serious thought to who might be able to help.

That help came from a very lovely man named Stephen Henderson, who lives not that far away on the Essex coast.

He was contributing a few sculptures to the exhibition but I had never met him until a week ago. It's strange how some people who you haven't met seem to be the people that you have known for years. This was the case with Stephen, I felt very comfortable with him, and coming from a shy person that is saying a lot.

I will have to devote a whole post to his life, home and studio, but I certainly haven't that time tonight, but I will because I want to share the magic of it all.

I had already collected Stephens sculptures and whilst collecting them saw many, many others

that my heart ached to bring back to the gallery.

So, in a spot I took a gamble and called him and in my Oliver Twist voice asked

"more".

"Not a problem, of course, come and take what you need".

I did, and now in our main window we have a seven foot wide fantastic sculpture.

Don't get me wrong here, this wasn't what I had intended to show in the window, in fact the front cover of the invitation shows the sculpture that would have been there, couriers permitting.

But if you were going to have a replacement than it doesn't get better than this.

All this aside, a few exceptional pieces have arrived "at the last minute

[or in the last possible post]

two of these are by Mark Rowney, who is by any ones interpretation a very talented man.

He knew I needed help, so he helped.

He sent a painting on wood, and an incredible book.

The book I will talk about later as I have never seen anything like it and it really deserves a showcase.

Thinking about it, there are lots of things that I want to show, but for now I suppose this is just a last minute thank you to Stephen and Mark.

So above are Stephens seven foot wide "Marlin chasing Flying Fish".

His small [only three feet wide] "Sea Trout & Fry", and Mark Rowney's painting of the Albatross.

But, I would like to thank everyone who has participated and I promise that once I have recovered from the stress I will show your various works.

Thanks to all of you.

It didn't take me long to lapse back into old ways.

I was going to post pictures of new work each day until the next exhibition.

Well at least I had the good intentions, but we all know sometimes having a life stops you blogging about it.

Mind you, at the moment I don't seem to have much time for a life as I seem to spend all my time here "putting out fires".

Or at least, writing to magazines, reminding artist's of a deadline, chasing for photographs, arranging trips and deliveries and I suppose just the everyday stuff that goes with running a gallery.

Last night I left here at 11.00pm which is not that too unusual as there always seems to be

"just one" unattended thing to sort out before I leave.

I know that many artists don't believe it, but running a gallery can be a full time job,

"if you are interested enough".

I suppose that's my problem, perhaps I get just a little bit too interested sometimes,

but that's a silly thing to say, as how can you not get too interested when you are seeing new creations and talking to different creators each day?

As a perfect example, I had a call yesterday from Ed Prybyl, the sculptor who lives in America.

He is sending a piece that he has crafted especially for our new exhibition.

It was so nice to hear his voice and to be able to put a personality to the person that I have only corresponded with by mail.

He told me that he had enjoyed the challenge of creating something that had such an interesting theme, and that it had made him stretch himself.

It was obvious that he had put a great deal of thought, effort and research into his sculpture.

To hear something like that, and to realise that it had been nurtured by your own imagination

was an absolute thrill, it must be the next best thing to being an artist.

It was very humbling, and it is the comments that he made that makes me feel that

"I must try harder, I must give all of my time and attention to this", because when you think of it, it is not a lot in return for all the work and effort put in by so many people who are just

trying to help my own dreams and imagination become a reality.

So, this gives me the perfect excuse to show pictures of Ed's sculpture, [which I hope is now somewhere over the Atlantic between him and us].

It is a very unusual piece of sculpture and certainly different to anything we have had before,

but the whole feeling of it is very close to my heart.

I love the "new, yet antique" feel about it, and it is the sort of thing I would love to have shown in the past. Had I known of someone like Ed Prybyl.

Unfortunately I have only recently "discovered" Ed.

It is nothing short of a miracle that he, listened to me, took me seriously, agreed to take part, and then spent the next three weeks making this especially for us.

He has chose to interpret a piece of the story that I really like.

The Mariner stopping and telling the Wedding guest his tale of woe.

Such an undramatic part in the poem of "The Ancient Mariner", but such an important part.

A simple piece of the story concentrating on people, and at least for me the most moving part

of this sad tale.

I just love the way that Ed has captured the "cynical" expression on the face of the young man,

and then also the "earnest and honest" expression of the mariner.

I can imagine the conversation,

"no listen to me boy, it's the truth".

"Yeah, OK Grandad".

It could be anytime in history.

The old trying to communicate with the young.

A problem I have, because I never go home.

Which reminds me I had better leave now, I have to be in early tomorrow as there are more exhibits arriving from Ireland.

Thanks Ed, I really appreciate your thought, hard work and imagination.

Things seem to be pretty hectic at the moment, it seems to me that this years exhibitions are almost going 'back to back'.

Which they are not, but that is how it feels.

Normally each years exhibitions are scheduled way ahead and are given plenty of space in between.

But this year isn't normal, or maybe I am the only person who has recognised that there is a recession going on [or at least has the nerve to mention the subject].

It has been a strange year for art, it would seem that people are now purchasing with serious intent, or at least being very selective with their purchases.

It seems to be a good time for good artists, the public now more than ever are after quality.

After all, if they haven't as much to spend, then they want to know what they are buying is the very best.

So as a result we have had some of our most exiting artist's selling really well.

Which has been such a confidence boost for myself as time and time again I have told people

"I don't care how well it sells elsewhere, if I don't love it then I don't want to show it here".

This is something that sounds pretty bad, mad and very "snotty" especially when at the end of the day I am supposed to be running a business.

But, like any business running a gallery is not all pleasure, in fact only a little of it is, for me that pleasure comes from looking at the work we show and as I have said many times

"I have to pinch myself for being this lucky", and I remind myself of that fact each day when I look at the many things that I cherish and would love to own and take home, so those are the works I choose to sell.

In conversation with artist's all of the time I am asked,

"what is selling at the moment"?

Or even as I was asked today by a very talented sculptor "am I good enough at the moment".

To anyone who could ask that question the only answer is "yes", any artist who is questioning there work can only be a good artist.

So what is selling ?

I couldn't tell you what will sell next, the only thing that I am sure of is that it will be something of the best quality in its chosen genre.

So with all of this in mind I decided that I wanted to keep this year "very open" when it came to exhibitions and look for the very best people. So many times in the past I have missed unknown and emerging artist's because of previous commitments, so this year I decided to gamble and to ask the artist's I would like to exhibit as the year unfolded, but all the time with the focus on what I thought was the very best work to be shown.

As by now I'm sure everyone [who reads this blog] knows that my taste's are "all over the place", or so it seems to some people.

I feel that all of us have so many facets to our personalities so why shouldn't we all like many various kinds of art?

Anyway, that's my excuse to indulge myself wherever my heart and desires take me.

And sure this has all added to a lot of timetable problems

as my desires don't always fit with others schedules.

In contrast to everything I have just said [yes, I am a mixed up person]

our next exhibition has been planned for a year, though it seems so much longer as there isn't a day pass when it's not on my mind. The people involved have been added as that year progressed, and I am so pleased that I decided to keep it open to constant additions.

'The Rime of the Ancient Mariner".

I have mentioned it before many times, and will do again each day for a couple of weeks.

At the moment it has a "cast" of 24 different Worldwide artist/sculptors/potters involved.

Even with just a couple of weeks to go until the opening I wouldn't be surprised if more weren't added as we have never had such a great response to any exhibition, and I had never understood just how many different [various mediums] artists were fans of the story.

So leading up to the opening I intend to show different work as it arrives, some of that I know is going to be "very close to the wire" as a couple of American sculptors are still working on things, but this just makes it that little more exciting [nerve wracking].

Exactly what we are going to have on show I still only have a vague idea about.

As an example one potter [Doug Fitch] has told me he is "leaving it as a surprise".

Like any child I love surprises but "hey! Doug I'm getting too old for this much excitement".

But seriously, the anticipation is all of the fun.

"When" it arrives "I" then have to start work so that everything looks at its best.

But like I said "sometimes I have to pinch myself"

The first offerings that I am showing is a series from an incredible lady named

Eleanor Bartleman, made from ceramic but resembling old stained glass windows.

What is interesting is the way she has depicted the Albatross as a person, maybe a lover.

Like the original tale, there are so many interpretations to be made from her art.

She tells me that there are more to be seen, which at the moment are still being fired in the kiln.

I cant wait.

After an exhausting few days we are all now recovering from the

'Maureen Minchin' exhibition.

In every respect it was unlike any other that we have held.

The quality and quantity of ceramics which arrived just a couple of days before the were a little overwhelming, not just the thought of having to price and catalogue the work but how to go about displaying such a varied and beautiful mixture.

There was literally "something for everyone", from beautiful egg cups to gigantic plates and dishes. It is almost impossible to understand how one person can produce such intricate work.

I know that she has a team of friends and helpers who work with her, but the decoration is all Maureen's.

Drawn with a needle.

Even a humble mug must have hours of work involved in its creation.

One person commented to me about one of her framed tiles

" that's almost like a miniature work of art".

I corrected him.

"No that is a work of art. If it was on paper many artists would be demanding very high sums for such a piece".

But it seems that all of the work and many, many extra hours demanded to create this picture on a piece of ceramic mean nothing when compared to "oil on canvas".

Funny old thing the art world isn't it.

The opening of this exhibition was a rare experience.

People were waiting outside for hours before the door was opened

There was something of a carnival atmosphere about it all, much of this was helped by Paul,

a neighbour, friend and owner of the nearby Hairdressing Salon.

He, like many is a great fan of Maureens work and was determined to purchase a number of pieces and he appreciated that friendship aside this would involve a long wait, so not only did he turn up with a garden chair to sit on , but he also brought several others for the people who waited with him until the opening.

Inside the gallery I was still panicking and rushing about trying to put the final touches to the show and I envied the strangers sitting outside in the sun laughing, drinking and becoming friends.

It was a very unusual day.

Once the door was opened at 12.00 Noon [on the stroke] bedlam was unleashed.

It was terrible, for once I had to work hard instead of socialising.

For the first time I understood how much Rebecca and Irene have to do while I talk and drink,

and talk.

This was hard work.

People were snatching up pots and holding onto them so that others couldn't buy them, some were demanding "Red Spots" so that they could reserve a piece before someone else spotted it.

It was madness , then suddenly,

it calmed,

people started to behave in a more normal manner.

The reason?

Because almost everything had sold.

"What a day", I thought as I poured myself a long overdue glass of wine.

I was wrong, it wasn't a day it was only 1.20 pm.

I couldn't believe it, so much had happened and so much had sold in such a short time.

At any exhibition that we hold it is impossible to predict the outcome or how many people will attend, all I can do is put every effort into each show and then wait.

So what makes Maureen so special and so sought after.

I think that it is to do with her integrity and the amount of work she puts into each piece she creates, but not just that. I think that in her work she shows a side of life and the countryside that we all long to see and experience.

For instance I had asked her "do you ever see any basking sharks"?

"Oh yes lots, and Minke whale, killer whale, lots of Dolphin and of course the Otters and Puffins all the time".

Her pots reflect her life and everything in it that is of importance to her.

They are a 3D representation of where she chooses to live.

I have tried in a simple way to illustrate with my pictures above where her inspirations come from and what makes her create what she does. I hope that they help give an insight into her beautiful world.

I think what sums her work up comes from her own words.

"To step outside my door and be able to walk in any direction is very important to me".

Maureen will show with us again one day but not until 2015.

" What, I will be dead by then", I told her.

"Don't be silly that's what you told me five years ago".

It seems like yesterday.