I have mentioned before that the sculptor Paul Harvey is someone I consider a friend first and

artist second.

So when I learned that he had a couple of new sculptures ready for me

I couldn't wait to visit him.

I must add that there is also a little of a selfish element involved because his work has such a great appeal to many of our visitors.

So I decided to make a journey to see him as soon as I could.

Meanwhile, I have been receiving regular correspondence from a sculptor who is equally as professional.

That Is Blandine Anderson.

   We will be exhibiting her sculptures in September but to my delight she has been putting me

"under pressure"

What I really mean is that she has been supplying me with regular updates,

information and pictures of what she is creating for us.

So, looking at the map it seemed that I would only have another 3 hours driving to visit her

after I had collected new sculptures from Paul Harvey.

So that became the plan,

but in reverse.

A magazine [Uniquely Away] has expressed an interest in covering our exhibition with Blandine,

So a visit made a lot of sense as I could tell them "first hand" about her work.

It was a visit that I looked forward to but nothing had prepared me for the real delight of such a visit.

Blandine is a very private person and chooses to keep her location unknown,

So all that I can tell you is that after many hours of driving I arrived at her beautiful home.

Much of it is still under construction but what was obvious is that this is going to be a unique home in an amazing landscape.

On arrival I was invited to share in a wonderful meal.

I had been drinking water and eating sandwiches on route but they had still left me hungry

I am delighted to say.

The lunch that I was served was simple and wonderful, plus it helped me to relax while eating.

I say "relaxed", as before our first meeting I was definitely in "awe" of Blandine and her work,

this was something that made me nervous [it doesn't take much].

While eating with her and her partner Terry I calmed down considerably.

These were nice genuine people.

 I eventually explained that I wanted to photograph Blandine in a landscape that inspired her sculptures

"Well it will have to be at the lake", she said.

So eventually she lead me on a walk though the countryside that inspires her.

Leaving behind her home filled with dogs cats and hens then though a field of her own rare sheep

we eventually came to a really wild area that is only kept in check by ponies, not hers but wild ponies.

It was here she relaxed and I was able to gain a little understanding of the sculptor.

We walked and talked

Well Blandine talked and I tried to listen.

She pointed out where wild animals had trodden and what new plants were growing.

She was so proud that different species of butterflies were returning and that rare flowers are growing.

I truly began to understand where her inspiration came from.

She talked of creating routes, paths and bridges where children could visit and discover a lost world,

or a world that has become lost to children of today,

A magical, beautiful yet wild location.

If I was in awe of the artist before my visit, I was even more so at the finish.

Eventually after of hours in the countryside I visited her studio.

Everything made sense.

Her studio has no widows but it doesn't need them, the work is created from the mind and observation.

Windows would only divert her attention.

Seeing sculptures under construction was a real delight.

Some just started, some part done, some on its third journey to the kiln,

It intrigued me and had me questioning how it was created.

I like to think that I learned a little more than most visitors, but still I was unprepared by the quantity

and quality that was produced by a woman who has to leave her bed in the middle of the night

to feed lambs.

Obviously it those events that make her creations so special.

I was surprised to hear her say

"I don't create as much as I used to".

I felt tired just looking at what she produces [animals and sculpture].

Before I left, Blandine asked would I like to see some of the sculptures she had produced with the carpenter Terry Sawle?

Of course I would.

As a result I was allowed to leave with a couple of collaborative pieces of sculpture.

Although they have a function I can only describe them as sculptures,

very powerful sculptures.

I have shown here a seat, I have labelled it as a "Throne" because it is that magnificent.

I was thrilled to depart with such pieces

So much so I forgot to take away some wild garlic that Blandine had promised me.

Still that is a good excuse to return soon.

After a few hours driving I settled down for the night in my hotel.

The idea was that it would shorten my drive by a few hours the next morning when I was to meet Paul.

"I will be here for you at 8am" he told me.

Something that made me feel slightly guilty when I departed from the hotel at that same time.

But that's what it is like when you work with friends.

The drive was through torrential rain and although I wanted to stop and photograph certain locations

it just didn't seem worth it, after all we all know what rain looks like in every country.

I did pause and take one quick snap,

that was at the entrance of the home of Andrew Lloyd Webber

which is close to Paul's workshop.

Across from his entrance was a sign directing people to Paul harvey's "open studio".

I did mention to Paul that "Andy" might not like this near his gate.

"That's OK he can't see it from his helicopter".

Fair point.

Unfortunately the constant heavy rain spoilt what would have been another wonderful visit to Paul's 

studio.

The visit was really good but even with the classical music playing in his idyllic studio location

the view from the windows was not too good.

Maybe next visit.

By the time my van was loaded we were both soaked,

But in typical fashion Paul waived me away, calling out "good to see you".

That's exactly how I felt.

Here is one of his new sculptures that I retuned with.

Unfortunately it has now left us for a new home in Scotland as it sold immediately.

Of course this is the nature of having a gallery, you are meant to sell beautiful creations.

But, sometimes I wish that they would linger a little.

As with the next painting.

Minutes after arriving back at the gallery Irene told me

"you have a letter from Nom Kinnear".

"I can't have"I replied,

"she has gone to Italy never to return".

She has returned, and what is even better she had created a painting just for our gallery.

'WINDSEWN'

"I think it is right for your gallery", she explained in her letter.

It is

What a lovely return present, I absolutely love it.

The painting arrived the next morning

I framed it immediately and placed it in the window.

This morning an old man came into the gallery

"I don't want to disturb you, but can I say that the painting in the window is the best I have ever seen".

He then asked would I mind if he visited again to look at it before it sold?

I understand what he was saying, it will sell very soon and like him I want to enjoy viewing it.

What a lovely return present.

Thank you Nom it is good to have you back

Even for a little while.

I have enjoyed a little break from the gallery, but returning it is so much richer.

After what seems a very long time at last our new exhibition opened.

Eagle Hunters

A joint exhibition by the sculptor Sandra Courlivant and photographer Asher Svidensky.

The exhibition was focused upon their individual journey's to

Mongolia

The common link between their individual art is the children and Eagles.

Sometime ago Asher's photograph had become a worldwide sensation after he released

a series of photographs of a young girl, Ashol Pan.

She had become the first female to hunt with an eagle, a girl of thirteen.

The full story is better told in Asher's own words.

There is a book in the "pipeline" so soon we will all be able to read the full story.

Sandra Courlivant had exhibited with us last year and her sculptures received such a good response

that I have been desperate to think of an excuse to invite her back again.

Her work centres around the relationship between the Mongolian children and their animals.

With their nomadic way of life the bond forged between human and animals is like none found elsewhere on our planet.

The animals really are their friends.

It is this gentle portrayal of their relationship that makes Sandra's sculptures so very special.

They really are very gentle pieces of art.

With his photograph's Asher had also captured the same bond.

His photograph of Ashol Pan caressing and cuddling this giant and dangerous bird says it all.

So I had asked would they collaborate for this exhibition, to my delight they agreed.

What was an even nicer surprise is that Sandra travelled from France for the "vernissage".

Her visit here for the opening was as enjoyable as her last.

Many old friends came to greet and meet her again, and a lot of her time was spent

signing autographs.

She had asked me before the opening "how should I greet people"?

"hello it is good to see you again", I told her.

"But what if I don't remember them"?

But of course she did.

In fact she spent more time talking to people than I did, and that doesn't happen very often.

The fact that she did remember people and took the time to talk with them in English

[she did not need my translation skills fortunately].

was really appreciated and it was obvious that she was building is a loyal group of collectors

here at our gallery.

It is almost impossible to believe that not very long ago I had never heard of her,

now one year later I would be horrified if I was never to see her or her sculptures again.

But I don't think that is going to happen as we are now mates and are planning

another event.

The two Reindeer sculptures were the last to be made for the exhibition.

In fact they almost never came into "being".

It was only because a lady came into the gallery asking to be sent an invitation that they happened.

She asked.

"Will you have sculptures of the Mongolians with Reindeer"?

My initial thoughts were

"what an idiot she is thinking of Eskimo's"

The idiot of course is me as there is a region where the deer are treated in the same way as horses.

I mentioned it to Sandra,

who of course knew all about them and exactly where they live, it helped me understand what a vast

country it is with landscapes changing from deserts to Icelandic mountain wilderness.

Perhaps the last great wilderness,

occupied by a population as beautiful as their landscape.

The evening before Sandra's departure we all ate a meal together in the gallery.

So talking about the common language of food she exploded the myth that in France they do not eat a great deal of onions and garlic.

I would have none of this.

I explained to her the image of the French riding bicycle's laden down with strings of onion and garlic.

She wasn't convinced.

The poor woman must live in a very remote region where they only eat snails.

So the next day before returning her to the airport I took her to visit a "real"

French market here in an English town.

For some unknown reason she did not seem that impressed.

"I see that you have Chinese French", she said after passing the noodle stall.

"Italian French"!

"Oh! Moroccan French, and the Mexican French".

She exclaimed after passing the various food stands all purporting to be from France.

Then I turned around to see her happy.

"home at last", she told me as she caressed a string of garlic.

I knew it.

They eat garlic and onion all day long.

Now all I had to do was find her a stand selling "berets".

Every five or six years we are fortunate enough to be able to hold an exhibition of ceramics by

Maureen Minchin

Although we still have a few months before our next occasion I thought that maybe

I should make a small mention of it now as we have already started to receive calls and emails

from different collectors

They have all wanted to confirm the date of the opening as they intend to book a local hotel

for the weekend.

This is not exactly normal for an exhibition but nothing to do with Maureen ever is.

The last time we exhibited her work there was a queue formed outside the gallery when I arrived

some three hours before the opening.

Her ceramics have always been highly collected but now she is featured in London Auctions

it seems her ceramics have been discovered much further afield than Suffolk.

We often have calls from different countries, with people asking when we might have more in stock.

The answer is always the same

"We don't know, five years maybe".

 Although she was originally a potter from Suffolk, long ago she left us

And now lives in a very remote part of Scotland.

At the beautiful location where she now lives there are few houses and even fewer people,

But she has become very involved and an important part of the scattered community.

She once told me that the potters that she respected were Michael Cardew and Bernard Leach.

Mostly because of the way they had lived their lives and what they had contributed

to the their own communities, providing jobs for local people at locations which [then]

had little to offer in terms of employment.

On my last visit Maureen had some local people "helping".

Not that I think she needs any ones help, she is a miniature dynamo, working constantly.

I think she had their help for other reasons, I felt that she was helping.

Nature, is her inspiration and I think that needs no explanation

But it is the labour intensive detail of her work that I have trouble coming to terms with.

Each terracotta pot she creates is dipped into "slip" [thin white clay]

then decorated with a needle,

or as some potters describe it "scratched" so that the red clay is revealed to form the image.

Most potters working in this fashion will tell you

"it takes a lot of time".

I have never heard Maureen make such a comment, it is just what she does.

Her pots are not priced upon the hours of labour, they are priced as vessels for use,

just made in her way and her style.

I have questioned her on the wisdom of spending hours decorating a mug,

egg cup or a small cream jug.

"Surely you would be better spending that same time working on a large piece 

that will command a higher price"?

It made sense to me.

She explained something that I understand and can relate to very well.

" some people haven't a lot of money but they would still like to have one of my pots,

so they are made with them in mind".

How many artists would do such a thing?

I can assure you that a simple mug by Maureen is a thing of beauty and is the result of many hours

of labour.

These pieces are as important to her as the "statement" works that appear at auctions.

So, perhaps you understand why I am a fan myself.

Not only is the work different and outstanding,

but also the artist.

I know that she would be embarrassed to hear me say such a thing, she isn't striving for recognition

of any kind, she is just doing what she loves.

That love is evident in her work.

Her art is constantly evolving and improves in the most subtle of ways,

But really the only things that have changed over the years are the animals that she portrays.

I know that she will use the excuse of exhibiting with us to sneak some Hares back into her work.

"You must have some Suffolk Hares", she told me in the past.

She lives in an idyllic location but in a very humble way.

Whenever I speak with her I close my eyes and ask "how is the weather"?

[Trying to visualise her her location]

Sometimes [at odd times of the year] really hot

but on other occasions I will be told that the tiles are lifting off the roof and the wind is terrible.

That I can easily imagine.

Although she is situated just 100 metres from an idyllic beach with views out to the distant islands

there is nothing to stop the winds from the Atlantic

[well you could say that America blocks some of it but that is a "wee" way off].

The last time I visited it was after a long journey through snow covered mountains and it was a surprise

to arrive on a winter's day which seemed like summer on her small peninsula.

But still the sense of remoteness was very evident.

Of course she is never "cut off" from civilisation because just along the road

is the means to contact the world [if you have enough coins].

I can imagine conversations like

"Maureen your breaking up, is there a storm"?

"No, I just put in my last 10p and it's running out....beep....beeep".

"Hello, hello"

So just to confirm for those who keep asking.

Maureen and her ceramics will be here with us for the private view that opens on

Sunday August 23

Unless there is a storm from the Atlantic.

The longer you leave it the harder it gets.

I suppose it counts for everything in life, it certainly does for my 'blogs'.

Each and every day I think to myself "I must write about something", not for you but for myself.

I don't pretend that people are waiting on my every word so when I do write it is for "me.

Irene would tell me "that sounds about right".

My mind is like a "junk box" and every now and then it needs a good clear out.

Writing does that, then it enables me to move on a little bit.

At least I think it does.

People "blog" for different reasons and sometimes its hard to understand why.

My current favourite blogger "Tony Clenell" has started to write to his own ceramics,

as a result his posts have become much more personal and more enjoyable, of course he is mad

but in the very best way.

It is because of his daily "posts" that I decided I had better write a few words.

But what should I write about ?

So many events have occurred and so many different artworks have arrived at the gallery, I wasn't sure what to choose as a subject.

We certainly have a lot of events coming up in the near future, so what should I choose as a topic?

I am not sure so every day I have left it for tomorrow.

I do that with most problems but I have found that it catches up with you in time.

So while I have been pondering upon such important desicions

Other things, and other art and events have proceeded as normal.

Which has made me understand that these are the important things and that I should make mention of them because they are the foundations of the gallery.

Nothing to do with exhibitions. just nice artists who we deal with every day.

I don't remember exactly when, but a few months back I had an email from an artist.

What made this letter different was I couldn't understand a word, it was in 'Italian'.

I appreciate that this will confound a few of you, those who are aware of my vast linguistic skills.

After all last week I was speaking with a customer in "Geordie",

that just shows how good I am with a foreign language.

So receiving the letter in Italian I called upon my good friend "google"

and discovered that this was a famous Sicilian artist.

Famous yet so very modest.

I am so pleased that 'Google' were able to translate for me as I had received such a lovely letter from a really nice and incredibly talented artist.

Tino Luciano

I have no idea how he found us but I am so happy that he had.

As a result [I did reply in Italian] of our correspondence he sent me two of his beautiful paintings

Both placed in antique frames.

I couldn't help but wonder what I had ever done to be so very fortunate.

Then just a few days ago he wrote again.

Of course I couldn't understand a word, but with a little help again from my friends at google

[but they don't know Geordie]

I understood that he was preparing to send me some new paintings.

I felt very humble and just don't know how I have become so lucky, I don't want to question why

I am just so proud that he would decide upon us to be his gallery in England.

What was even nicer isthe way he signed off his letter

Saluti affettuosi, a presto

"much love, see you soon"

What English person would be so honest plain and simple?

I can't wait to greet him with a kiss.

So, if you want to see some stunning art from Sicily give me a call, you won't find it elsewhere,

not in my country.

Head in the Clouds

I confess that I am a dreamer.

Often my mind and thoughts are anywhere than where they should be

Which can be fun and often leads me down good roads but........

It doesn't get things done.

So while I have been scheming and planning and telling you of events that I might have one day in the future

Perhaps I have not talked about or made mention of

Events that really will be happening very soon in the not so distant future.

So to start with.

It is often the case that artists who we are going to exhibit are so concentrating on their art

They forget that we may have a deadline for promoting their event

I have long ceased to worry about that.

Perhaps that is why I talk of other things, because I am waiting and don't want to hinder them

It is the nature of artists to get lost and absorbed with their work, they don't need to be absorbed

With crap like advertising and promoting events.

Indeed why should they?

But it is a two way street and as a gallery it is hard to promote, when there is nothing to show.

So, to have an individual artist understand that we need their assistance well in advance of an event

Is a very rare thing and greatly appreciated.

Which is why I talking about the ceramic sculptor

Blandine Anderson

I have been aware of Blandine's sculptures for many many years

They are beautiful, thought provoking and so very well crafted.

Unfortunately, because she is a "home grown" sculptor many other galleries are aware of her

To say that she is in great demand would be an understatement.

I had all but given up the hope of ever exhibiting her work.

But, never say never [well James Bond did]

At last

Later this year we will be holding a full solo exhibition of her ceramics.

When she agreed I was thrilled but totally unprepared with how professional she is.

Here was an artist who truly understood that it only worked if you work together

Sooner rather than later.

Once the date had been decided upon, she immediately sent me images to be used for

'in house' promotion.

Since then we have talked about a theme and a title for the exhibition.

Both being things that are of great importance to me

How an exhibition is perceived beforehand in the public mind makes so much difference.

I might know what to expect but how do our clients?

A title makes a great difference, together with images it paints a picture of what to anticipate.

I am a bully and most times try to bend artists thoughts towards my own ideas and imagination

Many times this helps

Simply because I am aware of what "our audience" will respond to.

This time there was no need to even think about such a thing

From a few emails Blandine's mind had locked into where we are situated

What I like, what she likes

And what we both think others will like.

I am really looking forward to this exhibition.

Meanwhile here a few pictures that she has sent of her recent work.

Of course

Her exhibition here will be totally different  again, an exhibition tailored to our corner of England.

I will tell and show more as it progresses

Meanwhile, it is a lovely to feel that I am working with the artist on a joint project

Hey!

Perhaps she would like my help to create them, I have lots of idea's and......................

Perhaps not.