Autumn in Paris

This post was supposed to have been about some of the varied works that we have received between 

the recent exhibitions.

As usual time is slipping through my fingers while I am occupied with daily events

Office work, picture framing and of course visitors.

Sometimes I become buried under so many other things I forget that it is the visitors through the door

who are the most important people in the building.

On many occasions they also contribute to the most enjoyable part of the day.

When people have a genuine interest in the different works and ask questions about the art and artists

it makes for a very enjoyable day.

These are the people who come back time and again.

On occasions they might purchase and that is a bonus but it is their genuine interest

that makes for a rewarding day.

Unfortunately it has been the "office" work that has been occupying most of my time recently.

It tends to creep up on me slowly until I suddenly realise I am engulfed by it.

I had no understanding that this is what I had signed up for 10 years ago when we first opened.

So, intentions of doing one or two posts about the new arrivals have disappeared.

I started to remember that we have another new exhibition soon to open which had not received a mention.

With a little more than a week to spare here is that first mention.

You may remember that much earlier in the year I visited Paris to meet with two very different artists.

This new exhibition is a result of that trip.

The painter Agnus Boulloche and Elisabeth Dupin Sjostedt the sculptor 

will be sharing a joint exhibition with us.

At a glance it is obvious that they are artists working in very different styles, they are also two very successful artists who are exhibited in exhibitions throughout Europe on an almost "back to back basis".

I had been hoping to hold two individual exhibitions but both had so many commitments

that their only available dates coincided.

So with a little thought [about 30 seconds] I decided that this could make for a very interesting

joint exhibition.

So dates were agreed and in a weeks time it is to happen.

Of course this will lead to its many difficulties as I appreciate that the artists involved are not as

multi-lingual as moi.

Hey Ho, I will have to take it in my stride.

As soon as I mention "Je ne parle pas Francais".

Not only will they be stunned but it will make life a lot easier.

Of course I will toss in the occasional "ma cherie", and maybe hum a Charles Aznavour song which 

I am positive will put them at ease, they will think that they are back in Paris not Long Melford.

"Autumn in Paris"

Why is that the name for the exhibition?

No reason at all except that is the location that I met with both artists, although they both own other homes in France, Paris was the location that we first met.

And, of course it is Autumn, plus it sounds romantic [a little like myself].

In seriousness both artists are incredible and I truly appreciate that I have been allowed to exhibit

their art in England.

Of course an exhibition like this does cause lots of transport problems and it does weigh heavily on my mind what I am requesting from both artists.

However I have been very fortunate

Elisabeth has volunteered to deliver her sculptures in person, plus I have discovered an

"Englishman In Paris"

who has collected the paintings from Agnes and delivered them here.

These paintings have been the reason for me being so occupied with framing.

But that has been good.

Lacking sufficient "short term" storage space, I have been standing the paintings against the walls of the gallery as they were framed.

The interest and result has been fantastic.

Two have sold before reaching the walls in a weeks time.

I am expecting a similar reaction when the sculptures are delivered, it makes me understand why both artists are so collected throughout Europe.

Now for the first time they are exhibiting here in England, in Suffolk, in my gallery.

Wow!

It is such a shame that they have not learned the language as well as myself.

Practise makes perfect and I will have to allow for this "ma petit pois".

Exhibition in Progress

This is the current exhibition that still has another week to run.

Obvious from the invitation cover above it is an exhibition of the art by

Blandine Anderson

A ceramic sculptor who lives in a very remote part of Devon.

For six years I have wanted to show her paintings and sculptures so this was an ambition realised.

Which shows that with perseverance some wishes do come true

Her exhibition was focused upon wildlife that is rapidly disappearing from around the world,

more importantly the animals that are common to us both from the East to the West of Britain.

Many species of animal that we take for granted, not exotic wildlife just the "everyday animals that

we always expect to see on our journeys into the countryside.

Hares, sheep, deer, birds................

A long list of animals that are in decline.

This exhibition has been a real pleasure.

Blandine drove for ten hours to be here in time for the opening,
she then spent hours talking with her many admirers.

One collector spoke with her for so long [over an hour] that I thought that I should perhaps offer to rescue her so that she could relax for a little while.

"No, I'm enjoying the conversation with him".

This was a relief, first to know she didn't want a break, secondly that the interest from people was important to her.

It all made for an enjoyable relaxed and happy opening.

Although not too relaxing for her, as a few short hours later she was in her car driving home to arrive there in time for a full day on her farm the next morning.

The scale of her sculptures varied considerably

From miniature pieces in porcelain to very grand sculptures made in stoneware, each piece finely detailed.

From photographs it is hard to determine which sculpture is 6cm tall and which is 60cm

the only indication is the different pricing, in my opinion much of it too low but this is what she wanted.

There was something for everyone.

As a result there have been many happy visitors.

We have intended to purchase some sculptures for ourselves

But as each day passes our choice has become more and more restricted as piece after piece is sold

I had hoped to own a small porcelain Hare sculpture but I have gone from "first favourite"

to "sixth favourite" and I am sure that before the exhibition ends it will be

"tenth favourite" or nothing remaining.

So far it has been a very enjoyable exhibition which has received daily praise.

We have been told on a few occasions how fresh, different, and cohesive it all looks, which it does.

But with each passing day another lovely piece leaves us for good.

Today another "very good" wildlife sculptor visited

"I have got to buy a piece", he told me.

He did, and now unfortunately my own choice is becoming smaller, but is good to learn that her work is admired and collected by such a well known artist.

So, I can imagine a conversation with Irene at the close of the exhibition.

"We are going to have that piece"

"why that one"

"Because it's the only bloody thing remaining".

Which will be a nice end to a good exhibition.

I have a lot of catching up to do.

Since last I wrote we have opened then finished one exhibition, we have another drawing to a close

and when that comes to a finish we have another that is approaching all too quickly.

This all interspersed with the frequent arrivals of beautiful pieces of non exhibition work

Is it possible that I maybe I have planned more than I can cope with?

No, of course not, a good dose of stress is good for you

[in moderation].

So I will do a few quick catch up posts in the attempt to bring you up to date on what has passed.

This is going to frustrate me as I just want to talk about what is happening today.

I will do that tomorrow

[or the day after or the next.........]

The Ceramics of Maureen Minchin

That is the exhibition that has passed, and although I shouldn't say it I am glad it is over.

Without a doubt it takes the prize for being the most stressful [on many levels]

exhibition we have held.

Of course it was a great success because it was Maureen Minchin.

A ceramist who has become one of the most collected potters in the UK, this is because she has worked

for many years to make this happen.

From her early days as an East Anglian potter, selling to the local population at giveaway prices she is now very sought after by galleries around the country.

All of them anticipating quick "sell out" exhibitions on their own terms.

Indeed they have created a culture of numbered "tickets" and number of pieces allowed per person.

This in turn has created queues and individuals bringing disinterested friends who will queue with them

just so that they can increase there allocation of ceramics.

We opted to go against this and to treat it as a normal exhibition, it just didn't seem fair that we should

have say to a customer who perhaps attends all of our events "sorry because you are number 25 there will be nothing left for you, but please come to our next exhibition".

I'm sure many people will think that I was wrong, but that's OK they can go and open their own gallery.

Personally, I would never attend an exhibition in the knowledge that if I wasn't there hours

before the opening then perhaps I would be only left with the second best.

I feel that if you are there on time at the opening then it should be equal opportunity.

It certainly never takes me long to spot the piece that is special to me.

So, yes of course we did have people outside hours before the opening, but when the door was opened

for us it was business as usual!

Unfortunately it wasn't, interest and politeness vanished.

There was pushing shoving, lots of shouting and even more rudeness

including many comments about myself.

Of course this was from the minority the keen "collectors"?

Those who purchase quantity not quality.

It was not an enjoyable experience.

In fact when Maureen arrived she was almost ignored, I'm sure that some people thought she was just another "punter" who might purchase a piece before they did.

As the afternoon passed more people arrived who had a genuine interest in Maureen and her work,

And of course they were still able to find a piece to cherish, more importantly

they had the pleasure of talking with Maureen at length.

In fact many long time collectors came just to talk with her, they didn't need to purchase as they already have a full collection of her work.

This was when the day became more relaxed and enjoyable.

In fact the majority of the major pieces sold over the next two days so why the big panic at the start

I just don't know.

The day finished as a great success but it had not been enjoyable.

The ceramics were wonderful but not the experience.

Still we both have time to ponder on the future as she only shows with a handful of galleries 

who are on a rota for exhibitions.

So in five years time who knows?

At least I have another piece for my own small collection

What's more

I didn't need a ticket number to purchase it.

As anticipated I have been unable to do "a little often", however here is a little.

I am honestly losing track of different things that have happened so here are just a couple of events that are still very much in my mind.

I have been very overdue to make a visit to see the artist

George Underwood.

This is always a trip that I look forward to [not the driving just the visit.

But just before I was about to make my journey he announced that their lovely old dog had died.

It is amazing how many different little things and events lead to a relationship.

For me a visit to see George and his wife is always associated by being greeted first by their dog.

Leon.

I have many memories of him running to greet me, pushing his head forward for a fuss,

and always in my mind a vision of him chasing across the lawn to catch a ball.

A dog full of life, hiding the fact that he was getting old.

I put of my visit for a couple of weeks as I understood that they both must be feeling their great loss.

Although he is now gone his beauty will live for a long time.

George had been asked to contribute a painting to a book about the art history of dogs.

The book portrayed the art of the dog going back 5000 years.

Of the many, many famous paintings [by famous artists] that appear in the book

only one was used for the cover.

LEON

What a lovely tribute for a beautiful friend.

When I arrived for my belated visit I was delighted to be greeted by their new arrival.

A puppy.

I was so pleased that there was a new little person who would help fill that chasm of sadness.

Leon will never be replaced he will always be remembered and missed

But a new little life has come along to make the family whole again.

As usual my visit was really enjoyable.

It feels so good to be visiting old friends, yes we are working partners but the friendship comes first.

George allowed me to choose whatever paintings that I wanted.

I told him that I felt very guilty about this as I felt I was "robbing" him.

"don't be silly take whatever you like".

I did

Here are a few of them.

Something else has been "very, very" much on my mind.

Our forthcoming exhibition of ceramics by

Maureen Minchin

Five years have passed since we hosted an exhibition of her work so the anticipation and excitement has been growing.

But with only weeks to go I was becoming anxious that we had nothing to photograph

to illustrate the invitation.

Understanding how busy she is and how time consuming her art is I hesitated to chase her.

Until panic really set in as the printers deadline grew closer.

I called her

"Maureen, I must have something NOW or I won't have invitations in time"

I could imagine her looking out of her window with the beautiful view towards the sea and the far distant islands,

Wondering, just why is this man so stressed.

But my panic must have communicated [perhaps it was me sobbing that did it] as she replied

"I can send you a few pieces in the post".

Three days later her ceramics started to arrive.

It left me wondering why I panic so much, but I have decided that someone has to,

so it might as well be me.

As usual I am very behind with events and things that have happened

In fact I have trouble remembering what happened when, I really need to do a daily post

But, as like now it is at the end of the day and when the gallery is closed and I have finished all of the chores that I remember that I have not written a single word.

So, who cares?

I do.

I would really like to keep a daily record of events and happenings, however small.

This will never happen so I am going to attempt a short "catch up" over the next few days.

[ My mind just told me "won't happen, will never happen"]

Let's see

I have long anticipated and looked forward to a visit by the French sculptor

Elisabeth Dupin-Sjostedt

I originally met her in Paris earlier in the year when she agreed to exhibit with us later this year.

This was something of an achievement as her work is very collectible and her list of exhibitions are almost "back to back".

But over a coffee in a Paris cafe she agreed to exhibit with us in October.

What was more exciting for me is that she also offered to bring us a few sculptures in the summer

so that her art had a presence here in our gallery.

I have been waiting in anticipation ever since.

A few weeks ago it happened.

With her husband she made the long journey just to deliver four sculptures.

Very few people would do such a generous thing, but I am beginning to understand that the artists

of France are both generous and also very hard working.

I think their work ethic must me "you take out what you put in".

Elisabeth certainly went to a great effort to deliver her work, she not only had two exhibitions in progress but she travelled at a time when travel from Europe was difficult.

There were strikes at the French sea ports and tunnel.

But, she had promised to deliver and she did.

We only had a short time together as this was intended to be a "whistle stop" delivery

So as is becoming familiar to me now with visitors we had a quick trip to the 'Bull Inn'.

For some reason, like the artist 'Charly' who visited before her

'Hot Chocolate' was the drink of choice.

I have to wonder if they are all still fascinated by the film 'Chocolat' with Johnny Depp.

No, impossible, can't happen, what woman would like him?

I tried to keep the French flag flying by forcing down a glass of red wine [or two].

Someone had to do it, didn't they?

But, on a more serious note

When the time came for Elisabeth to depart I felt that I had only learnt a very little about her and her sculptures.

There are still many questions that I want to ask, about her inspirations and her techniques

But with only an hour or so it is hard to "scratch the surface" with an artist.

This was only meant to be a delivery of her sculpture and a quick meeting, which was good.

If only it hadn't left me with so many questions that I would have liked to ask, but as I have found the more that I become to know an artist then the more I want to learn about them.

This is good because I have much to look forward to come October.

The following morning before they departed Elisabeth came to say "farewell".

Even though there was a French speaking customer in the gallery who was in conversation with her and her husband [which was enjoyable] I urged them to leave.

Just in case they were delayed at the famous M25 Dartford crossing.

So after lots of enjoyable double cheek kissing [you get to snog twice in Europe] she departed with plenty of time to spare.

They did arrive home safely and had no problems on the M25 crossing.

But it take an extra day.

We had all forgotten the strike at the French ports.

Still, it was a beautiful hot day so it was good for them to extend their visit,

What better way to spend an English summers day than sitting in a car on the road to nowhere?

Thank you both for making the journey.

A couple of months ago I unlocked the door of the gallery and as usual looked to the floor.

Not because the floor is interesting, but because there is usually a pile of envelopes

waiting to trip me [in many different ways] as I enter.

Usually nothing more exciting than bills, although these may not be exciting they do sometimes make my heart beat faster.

These I place immediately into the "pending" tray,

Some people call it a "trash can", I call it my pending tray.

However

On occasions there will be an envelope that will change my day, my week, my future.

This was one such day.

On the doormat was a small package.

My first thoughts were "great some new picture frame samples"

Which does give an indication of how little it takes to excite me nowadays,

But I confess they do excite me as I often have paintings awaiting a frame, but I won't frame them unless the "moulding" compliments the painting, so I am always pleased to a packet containing small

pieces of wood.

I do get more excited when there is a cheque in the post,

But sometimes you just have to take the highs with the lows, so a piece of wood is fine,

at least it starts the day with a "kick start" for my imagination.

But this day was a lot better.

The post mark was from France, which had me excited by itself.

The package contained a few photographs, a CD and a letter from someone named

CHARLY

  

 A letter from France?

Clearly my linguistic skills were needed, so with the aid of a dictionary I quickly interpreted the letter.

It will come as no surprise to you that this was very easy for me

It was written in English [I needed the dictionary just to check for spelling mistakes].

The package was from a French artist.

The CD contained photographs of paintings and the letter told me a little about the artist.

'Charly' is a woman and she asked would I like to try some of her paintings in the gallery?

Two minutes later I was on the telephone.

" Parlez vous anglais"?

A slight pause....

"yes I speak English".

This was good because otherwise the conversation was not going to progress very far.

Because Dear reader I confess that I have lied to you.

I can only speak English, Cornish, Scottish, Welsh and a little bit of Geordie.

And then only if they all speak slowly and clearly.

But obviously I have a way with languages as all of the French artists can understand what I say.

Our conversation continued in perfect English, and it was agreed that Charly would make a visit to Long Melford to bring some of her paintings.

I confess that I find it very strange when you are speaking with someone and you are building a friendship but at the same time you have no idea what that person looks like.

It is not important but it makes it easier somehow.

I searched for images of Charly but all that were available were taken from behind her.

My imagination filled the big gaps.

It is strange how often this actually works, it seems that the appearance of people can match their personality.

As a result, it makes for a much more relaxed "first" meeting.

So it was that six weeks later I was in a local hotel asking "when would Mademoiselle Charly arrive".

From behind me a voice asked

"Mr.Foley"?

I turned around and there was the woman I had anticipated.

She has persisted in calling me Mr Foley despite the fact that I have told her my name is John.

I guess it must be an age thing.

Every time I hear "Mr" I feel another ten years older.

So, here at last was Charly at Imagine Gallery  "avec sa mere".

Mum had made the journey with her little girl.

For some strange reason she enjoyed driving on the wrong side of the road.

I recommended that she should try driving in London [a journey we are all afraid of].

But it was decided that she would have to learn to swear in fluent English before that was attempted.

We decided to visit the old historic "pub" The Bull, where we could get to talk and learn about each other.

So over plates of "fish & chips" I began to understand about the life and work of this artist.

I admit I found it hard to think of her as Charly, which of course is not her real name.

The real name sounds a lot more romantic and less English

But CHARLY it is, at least signed on the paintings.

Her visit was over far too soon

[plus I haven't enough hours to tell you of it].

It seemed that just when I was beginning to know the artist it was time for her to leave.

But I suppose that over a couple of days I had more of an opportunity to get to know her

than I would have if she lived and worked here.

My relationships with "home grown" artists are usually built over a longer period,

The conversations are mostly restricted to around an hour at the most, so it was good to have a little more time to talk and to learn about the motivation and narrative behind her paintings.

I wanted to learn more about the person

But her enthuisiasm and conversations were for her art, perhaps next time I will learn more.

I know that this will be the start of many meetings with Charly

She has promised to visit again and next time to bring her dog, and with each visit I am sure my spoken French will improve.

Or a least her understanding of my English.

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".