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.

A long time has past and a lot has happened since I last wrote, many things I have been tempted to write about but I have resisted that temptation because each time I was drawn back to one event, and that I decided it was best not to talk about.

As a good friend told me many years ago,

"if you can't say something nice about someone, then say nothing at all".

So I have chosen to say nothing at all, for a long time.

But for better or worse I am back, with more ramblings about my gallery life and the things and people connected with it.

Much has happened in what has not really been too long a time so I'm not sure where to start, so I will just stick with the most memorable events.

I think when I last wrote we were just about to open an exhibition featuring the paintings by

Lindsey Carr, well that has been and gone and is almost history apart from the fact that the last paintings that had sold have only just been sent off to California.

It was a strange event with almost all of the sales going to America, something that has never happened on this scale before.

So clearly she is someone to keep an eye on for the future, which I will, and it is with a feeling

of pride I think that we held her first "solo" exhibition, the next will be in California.

Maybe one day she will let us show her work again.

No sooner had that exhibition opened and my thoughts and worries were elsewhere.

Our next and greatly anticipated exhibition was just on the horizon.

Maureen Minchin, the potter has been booked with us for nearly 5 years.

It was an event that I thought would never come and I have been like a child waiting for Christmas with the anticipation of it all.

Well, it nearly upon us now with just over a week to go before the opening.

Because of different things that we have planned for the event it was decided that I would journey to Scotland to collect some of the finished work from her, the rest will follow.

Scotland.

I haven't been there since I was a young man. It is strange to think that as young people Irene and I visited every year and had planned to do so "for ever".

But somehow life has different plans and despite our very fond memories and many plans we have never managed to return, so for me this "enforced " visit was a little bit of a pilgrimage

back to our youth.

On this visit I had the company of Sam, our son who on my last visit was just a hoped for dream in our far distant future.

Isn't life strange?

Strange, but such a great pleasure to take him to the places that had held such meaning to us

when we were his age.

Bloody hell! Am I that old?

I am, and was reminded of it in the most lovely of ways when after many miles of travelling

we arrived at the home of Maureen Minchin.

A home and workshop hidden away in the remotest corner of West Scotland

[but I will tell much more of that later].

Standing in her living room I looked out of the window which gave a view over the sea to far distant islands with snow covered mountains. I stood mesmerised until suddenly

I saw lights flickering over the sea.

What!

No it was a reflection in the window, I turned around and there was Maureen holding a birthday cake covered in lighted candles.

" Happy Birthday John".

Yes, it was my 60th birthday.

I should have felt ancient [indeed I am], but I felt young, alive and very happy.

How many people could be as lucky as I was to experience such a day in such a place with such

lovely people.

It seemed that everyone, Maureen, her friends and Sam tried to make this such a memorable day for me, and so it was.

I enjoyed and experienced so many good things I know I will never have time to recall them all.

It was a good day, indeed it was a good trip and I had lots of fun.

I was on a journey with my best mate, who just happens to be my son.

So without going into our many adventures, and there were many, I will just recall a few special moments.

Of course we visited Loch Ness [many times] and on our last evening stood drinking a pint of cider by the loch side as the light faded to blackness, but it never became totally dark as the surrounding mountains were covered in snow and they reflected on the water even when it became too late to see where we had left the car.

On one day we had the most amazing drive through the mountains of Glen Shiel, the snow was falling heavily but the road was still clear, it was like driving through a giant film set of 'Lord of the Rings'. Past Lochs, mountains and rivers in what felt such an isolated environment, it was beautiful but believe it or not there were almost no places to stop and take photographs.

The memories will have to stay as photographs of the camera in my mind [have you got one of those, they are brilliant but you can't share the images].

Emerging from the massive Glen we arrived at our destination, the home of "Connor MacCleod" [The Highlander],

Eilean Donan Castle, perhaps the most photographed castle in the world.

But for all the countless times pictures of it are shown on television, films and in magazines it is still a magnificent spectacle and one that everyone should try to see at least once.

From there we made a special pilgrimage to the last home of the famous author Gavin Maxwell, the man who wrote 'Ring of Bright Water' [one of my favourite books].

It wasn't really his home, not the one made famous in the novels, but it was his last home and

the one he wished to die in.

But life had other cruel plans and he died in hospital, but I feel that part of him is still there on this little island that was his home and it was a pleasure to witness what his eyes had looked out upon and it was easy to see why he had chosen to live, and wanted to die there.

From there onto the Isle of Skye and....................................too many different things.

So after some exciting days, we unfortunately had to make the long drive home

[with a car full of ceramics, yes I remembered to collect them]

past the beautiful highlands down to the equally beautiful but very different Lake District,

[now that's a story by itself, but perhaps for another day]

through heavy mist across the northern dales of Yorkshire then slowly back home in the late night to the gentle countryside of Suffolk.

It was good to be home but it had been such fun on our little winter adventure.

Having got that out of the way I will come back to show you the fruits of, and the reason for the journey. The pottery of Maureen Minchin.

The pictures are of the beach which is a 100 yards from Maureens home and which looks out to many islands. Sam, getting fed up with me asking for another moody picture.

The beautiful Glen Shiel taken from the car window.

The "Highlanders" home, Eilean Donan Castle, and lastly the beautiful home of Gavin Maxwell.

The day started off in a strange way.

Strange, but good, maybe bad. Only time will tell

I mentioned some time ago about a gypsy woman who came in and told me things about

myself and the life and future of the gallery.

Nonsense that I knew it was I handed her some money.

Her words and what she told me were not only true but gave me belief and determination.

She came in again today.

The cynic in me [and there's a lot of that] thought " she has found a soft touch".

But without a pause [or only a small one] I opened the till and handed her some money.

"Do you want to buy from me today", She asked?

As before she had nothing, so what was there to purchase?

I told her no, but thanked her for her words that she had spoken on the last visit.

She then started to tell me about myself and the gallery again.

Part of me wanted her to go away and the other part wanted to hear everything that she uttered. I felt frightened but awed.

Many people would just call me gullable.

Most of what she had to say about the gallery helped my thoughts, and I believed her.

A little of what she said about myself worried me, but I believed that also.

After all when someone tells you that you are tired, what's not to believe?

Before she left she stopped to admire and caress a 'Celtic Hare' sculpture that we have.

"I love this", she said then left.

This time I was determined to see if she walked past the smaller windows as she walked away,

but the telephone rang and I looked away, so I don't know.

As I mentioned before I felt that if I had gone to the door and looked out on the street there would be no one there.

But then again if I didn't have an active imagination I wouldn't be doing this for a living.

So, the real reason for writing this is because I know that in just a few days things are going to start getting very busy for me.

Another exhibition, not until mid April, but between now and then there is so much to do.

Apart from lots of travelling, designing invitations and a catalogue there is a lot of photography to do. Most of it for the exhibition but also some pictures for myself.

Really they are for an image library but they will be my sort of photographs.

They are sending me six Elizabethan costumes which I have to use for period photographs.

So if there is anyone out there size 10, please get in touch.

This all means that my chances of showing other works here is going to be very limited,

so here are a few things that have been on my mind and in my heart.

As you must know by now, I am passionate about the 'Stone Lithographs' by Michael Parkes.

These he no longer produces as the press on which they were printed no longer exists, as a

result the work that was available has been disappearing very rapidly, so much so that he has

even offered up for sale his own personal collection just to appease the worldwide demand.

Amongst these are a few that had long ago become unavailable, so when I was offered a chance to reserve a few of "his" pictures what could I do.

So now to my delight and great pleasure I will have a few [very few] very rare pieces by him

hanging on the gallery walls.

What a delight, and privilege.

I know that I can't afford one but just for a while they will belong to me.

Some other pictures that I have been aching to have here on show for a long while

are the works of Kate Leiper.

At last after a two year wait I placed the first piece in the window today.

"Mine at last"? Six hours later it was gone.

Still for a short while it was mine to look at, touch and savour and not many people have had that pleasure.

I do have a few others by her and if there is time tomorrow I will frame and hang those.

A lot of her art is centred around "Cats & Dogs" and those are the one's that I love.

Today the picture that sold was called

'Crossing Black Shucks Path", which is based on a local legend.

What makes this unusual is that it was painted by someone at the other end of the country.

Here in Suffolk we all know of the "Black Shuck".

There are many tales, myths and stories about him, but this is my own favourite.

Many, many years ago [before we were even young]

there was a great storm at sea near a place called Walberswick on the Suffolk coast.

A ship braving the storms and unable to reach harbour was overturned and sank,

with all the crew drowned.

Everyone dead, except the ships dog.

The sailors bodies were cast up on the long stretch of beach.

Some at one end and the rest far away at the other end of that long beach.

The poor dog was lost in grief, his friends were gone.

He wanted to lay with their drowned bodies, but how could he with that

distance between them?

So he ran, and ran, and ran.

From one end of the beach to the other so that he could be with his different comrades,

laying a while with some then running back to lay beside the others.

Stricken with grief, and running forever.

Today, many years later it is said that in the evening you can still see the poor dog

running along the beach, searching for his lost friends,

but if you see him whatever you do

"don't cross his path".

Of course this and all the other legends surrounding him are total nonsense.

If you believe that sort of thing you will end up listening to a gipsy's fortune telling.

Above, two of my beautiful Michael Parkes lithographs.

Some of Kate's dogs, of course the last one being that evil creature of legend.

Black Shuck.

Whenever we have an exhibition "on the horizon" it seems to become all encompassing.

and as a result many of the new exciting pieces of work that we have

seem to get overlooked for a short while.

This isn't by choice it is just caused by the worry of the forthcoming event.

But, what is happening outside the exhibition and future events always seem to occupy my mind, no matter what is going on and however busy I am.

I suppose at all times I am excited about the future and what we will be doing next.

It is the anticipation of the unknown, or at least the unknown response to what we will display.

Sometimes, not often, but sometimes, I can get excited about things that will be happening in the future with the knowledge that others will be equally excited.

For instance, the forthcoming exhibition of Maureen Minchin's ceramics.

I know that there will be a huge response.

Also other occasions, when different artworks arrive with no great "fanfare" but which are perhaps more important in the scheme of things than the exhibitions that we hold and which I know the public will love and respond to.

Two instances instantly come to mind,

but one will have to wait until tomorrow before I talk of that.

I know that many, many people out there know of the work by Rima Staines.

She is almost famous without being known.

No, that's wrong. She is famous, but in a strange way, and she is certainly very well known,

but not perhaps in the "all" important art world.

She is a gypsy, a 'will o' the wisp'', a "free spirit", a very unusual woman and an incredible artist.

She has legions of fans and followers worldwide and has perhaps "the" most followed blog, but what is amazing is that we were the first gallery to exhibit her exciting and very varied work.

To describe what she does would take hours, everything from watercolour to wood.

Paintings, drawings,games, sculptures and even films.

Initially it took an age to "track her down" as she was living in a "house on wheels" travelling the country.

It wasn't a camper or a caravan it literally was a wooden cottage on wheels, something I had heard of but didn't appreciate until I visited for "tea" one summer evening in a Suffolk field.

It was hard to appreciate that in a few days time this cottage in its idyllic location would be gone. No longer would you sip tea and eat strawberry's looking out of the 'stable doors' at a lake but would perhaps instead be viewing a Welsh mountain.

It had such a feeling of permanence it was hard to believe that it could travel.

But travel it did, until one day it stopped.

She stopped, and stayed in Devon.

I feel very privileged to be allowed to show her work from time to time, as she doesn't need any gallery to sell her art as most is pre-sold, but she always participates in any themed exhibition that we hold.

So it will be this May, when we open

'The Rime of the Ancient Mariner'.

I have no idea of what we will receive, but I do know that it will be very unusual, and beautiful.

But exhibition pieces aside, I have been lucky enough to persuade her to work with us on a longer term basis, producing a small series of 'hand embellished' prints unique for us [and her].

The pictures have been chosen from a few of my own favourites of her paintings,

each is printed on textured watercolour paper, is hand finished, signed and totally unique.

Edition size 0f only 33 worldwide.

Of course the odd number of thirty three could only come from Rima's imagination.

I do have other things that I want to talk of but they can wait,

so just for now here are few of her prints.

I'm in "post exhibition" recovery mode at the moment.

Last weekend was the opening of our latest exhibition, 'Wings of Hope' when we showed the paintings of Lindsey Carr and the sculptural ceramics by Anne Morrison.

Both artists from Glasgow, both artists so very different.

In some ways it may have seemed a strange partnership but their work was so different that

there was no overlap or competition between them or their work.

Lindsey's paintings very complex, detailed and very different from any other.

Anne's very gentle, but so robust ceramic forms, strong and very understated.

The common ground between them is that they both tell stories through their art.

The paintings seem as if they are fragments of a story, almost like pages torn from a book,

leaving questions in the mind of "what happens next".

The ceramics, some with lettering and even pictures on the surface, spoke for themselves.

Although I am sure that some of what they speak of will be interpreted differently by us all.

Luckily for me I had Lindsey here so I was able to ask, and didn't need to put my own interpretations on her work, and I must admit that the temptation is here to start telling about individual pictures but for that I don't have enough time.

In fact this short post is part of my "catching up" process, because as usual many important

and pressing things have been put aside while I concentrated upon the opening.

In fact the gallery was closed several times the week before as I had to take time out to frame

a few of the paintings, something that takes me far too long as I don't do it very often.

Irene was away and Sam [our son] had other things to get on with, so it was left for me to do it myself, something that I both enjoyed and hated.

I just didn't have enough time to enjoy myself doing something different because while I was

occupied the gallery stood empty, that I hated

The strange thing is, it seemed to generate more sales as a result of it.

I was besieged with mail [and still am] about the exhibition, the interest has been incredible

and as a result when it came to the opening a lot of pieces of the work had reserves on them.

So maybe this should tell me something.

Because I have shown paintings by Lindsey to you before I decided that I must take a few minutes to give you a peek at a few of the ceramic pieces by Anne, otherwise this week will disappear under a pile of paperwork and mails and when I find time again to do another post

most likely I will be concerned or excited about something else.

In fact I am, in fact a lot of things.

"But first things first".

It was one piece by Anne that gave birth to the title of the exhibition, it seemed to be a common

area shared by both artists

'Wings'.

Both ceramics and paintings showed them. On one of Anne's forms were the words:

"When evil arrows fly around

Hold fast to Wings of Hope"

To me this became symbolic, and so the exhibition title was formed.

Another of her beautiful winged form had the words:

"Bind up your broken wings and let your dreams fly free".

This is both beautiful yet sad, as it was made in memory of a potter who died not too long ago.

I know many people used to follow and enjoy his own blog.

It is strange, I have just checked, and there his blog is, still for us all to read.

But it is now stuck forever at one date.

His last entry showing pictures taken on one of his walks, together with his dog.

Then the blog, like life, just ends.

So it was lovely that Anne had been moved enough by this man to make this beautiful piece of sculpture and that we have it here to show.

Above is 'The Wings of Hope' sculpture, followed by a picture showing how Lindsey frames a lot of her paintings, the other pieces are of course by Anne.