Wednesday 1.9.10

A large parcel arrives containing a very beautiful book ‘Press Art’ - the vast collection of Annette and Peter Nobel which includes my painting ‘Weekend (Sunday 12th 2005)’. There are some amazing pieces in it from 1822 travelling through Felix Vallotton’s ‘Crimes et Chatiments’ series of 1902 through Berlin Dada of the 20s including Schwitters. From the 40s and 50s Braque, Leger, Giagometti and le Corbusier. Christo and Warhol’s from the 1960s Then Joseph Beyes, Tillmans, Richter etc. It’s a fascinating collection and I feel honoured to be amongst it.

Thursday 2.9.10

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Friday 3.9.10

Lee rings from New York

Saturday 4.9.10

whole day in studio

Sunday 5.9.10

Ditto

Monday 6.9.10

When I get up Richard shows me photographs of Isaac before his first day of school ready in his school uniform. Kev’s entitled it The Bash Street Kid and there he stands looking a little like a tiny Just William, posing perhaps like his Uncle Nathan did at a slightly older age, smiling and pouting and sometimes trying to look a little tough, full of mischief and glee but underlying it the vulnerability of a four and a half year old infant. All the more so as the sleeves of the school blazer almost cover his hands and the proper grey trousers concertina over the new black school shoes and the cap which is rather big and seems to perch on his head as if it’s inflated.

I’m now in the process of  taking all the canvases out of their frames to paint the small white gessoed strip around them, normally obscured by the rebate of the frame. But I always find myself working deeper into the canvas perhaps because I’m physically closer to it when it is out of the frame and it focuses the eye on the detail.

Tuesday 7.9.10

The big count down is always very intense

Wednesday 8.9.10

ditto

Thursday 9.9.10

ditto

Friday 10.9.10

R’s taken my big Leonardo painting, Troubadours, Higher Heels, Longer Toes and others to the gallery. Meanwhile I’m trying to finish off all the little bits I haven’t done and after R’s return work through the night on Objects d’ee and Objects d’art.....

Saturday 11.910

...I send R to bed at 4 as he’s got to drive up to London again and by the time I cross the Lane from m studio to the house the birds are singing and it’s a glorious day, crashing into bed at a quarter to eight, rising at quarter past one. When I come down Richard has laid out the centre page spread of Weekend Magazine on my London show - once again they’ve put it together really well and I am delighted with it. Lucy Parford had once again e mailed to tell me that they were putting a piece in  and it’s well placed next to an article on where to stay in London. I’m so lucky to have such generous coverage. After breakfasting in the garden in the sunshine’s warmth we set out to London with this last load. Sasha rings to see where we are just as we are entering Berkeley Square. I meet Sasha, Mikhail, Celia, Elizabeth and James and Gary of course. the pictures are unwrapped; Gary particularly likes The Hourglass and crouches  to study it as it is leant against the desk. The painting’s actually already sold to one of my American collectors. They have already worked a plan out of where they think things should go and we have been greeted by my enormous Leonardo on the wall just inside the door. After the works are placed on the ground floor gallery we move down to the lower gallery and they start to place these works too. Mikhail looks at me and says “have you got any more?” and I too feel there should be two or three more larger pieces. I ring Brian Sinfield at home  where I am lucky to catch him as tomorrow they are going to Yorkshire, and asks him if there would be any chance of him meeting us at the gallery on our return journey, to retrieve Grimaldi and the Goose which I had only let him have on Thursday as Miranda complained that as we were taking my small Card players away they would have nothing. The dear man agrees (and I tell him that he’s an angel) to meet us in Burford at 10 pm. I then desperately try to think if there is anything else. professor Ken and Nancy are still in the Cape but I’m sure they would let me use The Outsider that I have had on loan for five years or so - it’s now too big for their apartment since their downsize. Richard gets a catalogue from the car for the Cheltenham Museum show ‘A Day at the Races’ and I show it to Mikhail and R points out that I do have wrapped up from that time  and forgotten about ‘Grandstand’ so that would make three. And I remember that I still have ‘A Gloucestershire Nativity’ that hasn’t actually been on exhibition so I decide that in the unlikely circumstances it sells I will give my part to the National Star College towards the new creative arts centre and that makes four which I think would do it.

Sunday 12.9.10

R leaves at 10 with these last paintings for London and to help Mikhail with the big hang, whilst I’m working on a new piece. Although he has left framed canvases out I don’t feel they are the right shape so scour both studios and manage to find a work I had started two and a half years ago which I carry across the Lane to my studio there and start to rework it as a sister piece to The Hourglass. R texts to say he’s there and they have hung the ground floor, then in the evening rings to say they have hung the lower gallery too and describes the layout to me which has of course changed a bit from yesterdays placing with the four extra works. It’s good for  Richard to be hanging with Mikhail as it also gives a chance to get to know each other a bit and learn more about the gallery and how it functions.

My Mum pops round and I make her a cup of tea after which I walk her back and clear up as much as I can of the porch ceiling which has fallen in due I think to dampness from an intermittently leaking cistern above it. I feel very sorry for her as she is having trouble with her hip again which makes walking painful.

Monday 13.9.10

Go into Cheltenham to buy some shoes and boots which I inevitably end up not wearing for the pv due to not knowing if they will be comfortable enough to stand on all evening. Work until 1.30 am on the new piece which is now beginning to come into its own as I have found the two protagonists.

Tuesday 14.9.10

After breakfast and writing a few more cards to send out today we set out at about 2.30. On the way I answer correspondence to people outstanding like Jenny Ogle, dear Margus and the Chelsea Arts Club who say that if the group for supper after the opening is larger than the dining room will accommodate, they will lay up a table in the candle lit ladies bar. Text from Martin who is round at BAFTA inviting us to call in for a cup of coffee - I text back to say we’re still on the outskirts of London but will be at the gallery in half an hour, why not bring friends there. When we arrive I admire the hanging, it’s always a great transformation when the works have been lifted from being propped against the wall to being hung on it. I notice that not only is there a red spot on the Hourglass but also one on the tiny Card Players on the easel on the desk and Sasha points to one on The Supper. On going downstairs I see another on Song of the Sea as well as Learning to Fly which has been purchased by my dear friend Margus. Martin has arrived with a beautiful friend Manuela a film maker who lives in LA. Both her parents are artists, her mother a portrait painter, her father a sculptor. Soon others begin to arrive and then the gallery is so full that the people overflow onto the pavement; the gallery girls later tell me they think there were about three times as many as at their next best, the Warhol opening in July which we attended. I meet Daphna and Eric again who have flown in from Geneva especially; they had bought Dejuneur from my last exhibition here and now the big Supper (on the cover of the catalogue) and also Grimaldi and the Goose, the painting we collected on Saturday night from Brian Sinfield l. They are an enchanting and very attractive couple, we discuss whether I do commissions on the newspaper paintings making it personal to the commissioner datewise and  that perhaps I should do a breakfast painting for the next exhibition which would be Petite Dejuneur. I also meet Edwin, a lovely lady who has purchased Song of the Sea and the little Card players after missing my Peter Grimes violin in the charity auction held by the Cheltenham Music Festival in aid of the National Star College. She says that she has spoken to Richard and mentioned that she would still like a violin and he has told her he thinks we have one, which we do. Gary had introduced me to some of his clients and whilst talking to them I spot Toyah and Robert arrive; it’s always such a joy to have them at these events, they have always been so encouraging, supportive and generous and I love them dearly. Robert tells me that the painting he would take home with him is he Supper and that he’s going to frame the cover of the catalogue on which it is reproduced and put it on a little Augusts John easel he has. At the allotted time Toyah and I make our way behind Gary to the centre of the gallery where he welcomes everybody to ‘the best gallery in Cork Street’  and generously says they are privileged to be showing my work. I then do a very brief introduction to Toyah who opens the exhibition with a beautiful and again hugely generous speech in which she says I am a role model for other women and tells the story of how we met when she played Rolinda Sharples and I played me in the film based on Rolinda’s life, Toyah in period costume, and described the part where we storm into the bowels of Bristol City Art Gallery & Museum picture store and she reproaches the curator Francis Greencre for the condition of  her works and them not being on display. she also says how I don’t fall out of night-clubs drunk or leave unmade beds in the Tate. Although she’s an actress one always feels that her eloquence comes straight from the heart and is delivered in a wonderfully natural way; I feel so lucky to have her as a friend and although she has commented on my energy when the crowd call for a speech from me I have to tell them that Toyah has more energy that anyone I know. I tell them too that one of the reasons I called this exhibition Deja Vu is because this is the third exhibition I have had in this particular gallery (5a Cork Street) over the last twelve years. Each time with a different dealer’s name above the door but that I feel this is third time lucky and comment on how seriously Mikhail and Gary take it -   how professionally they and their team placed and hung the works and prepared for the exhibition. Someone touches me on the back and it’s lovely Vivien Styles who momentarily I don’t recognise as I think she is wearing different make up; she and Paul (a governor at the National Star College) are a hugely clever couple both research scientists who produce chemicals. Morag Dobbin and one of her lovely daughters (who’s a PA to an MP) is there; they have also travelled up from Gloucestershire (as they go she tells me with a smile that they have bought the Food of Love and wonders whether her husband, also a Wallace, will see her in a different light now. They had generously bought Nick’s Wallace and Gromit painting and the Blackadder water-colour from the exhibition I held for the Star College at the Gardens Gallery in 2006). Also from Gloucestershire are Peter and Carole Bungard and their pretty daughter Lucy; Peter White from Gloucestershire College; my dear friend and fellow student Joyce with her son Shane and almost first through the door, (just like Reggie Dent the Principal of the Art School when I was there used to), dear Michael Shinn who taught us and later became principal of the art school too. He’s such a sweet man and here with his daughter Catherine who is a very talented tapestry artist.

Good friend and collector Martin Day and his beautiful Japanese wife Reiko are there and I later learn that he has bought my drawing of the Zanni and the print of GloCorama. A film of me painting it is on a continual loop playing in the lower gallery so Gloucestershire College will be mentioned every seventeen minutes during the next month or so in the gallery and Robert generously gave us permission to use soundscapes from the ‘Travis and Fripp at Coventry Cathedral’ as soundtrack. Later Henrietta and her friends Emma, Katrina and Jules arrive, adding beauty to the occasion as do Ruth and Nathan. It’s wonderful to have my family there. One of the first people to arrive had been Mike Moloney and I notice from his card that he  is now Dr Mike Moloney OBE; still as extrovert as ever, I first met this jovial man in the early 80s when I was awarded a prize in the World of Newspapers exhibition run by Sotheby’s, the RA and the Daily Mirror. I had just been talking to Peter Phillips of Phillips auction house who was telling me he was about to buy my little painting when Mike who was chief photographer on the Mirror who was photographing me with it said “you can’t as I’m buying it, the Daily Mirror staff have first option.” He also knows Toyah and did a shoot with her and other celebs wearing Saville Row pinstripe suits just round the corner from here. It’s good to see  Andy and Lionel Curry who bought my newspaper painting featuring the Gloucester Citizen at the Star Art auction in 2006 towards the new creative arts centre at the National Star College. They are accompanied by the Coopers who owned two of my small works but recently added a larger piece I had donated to Paintings in Hospitals (Andy’s a Trustee) from the Bonham’s auction in London. Heather Adrian and their charming daughter Alaryne. Martin Horwood, Cheltenham’s lovely Liberal Democrat MP arrives accompanied by Shamsul and Monrusha Krori of The Curry Corner in Cheltenham  who recently featured  in Channel 4’s the  f  word with Gordon Ramsey and were voted finalists in best restaurant in Britain.  I’m delighted to see Brian May who’s driven up in his Bristol. Madge and Eammon have travelled by train form Devon although unlike Wallace they can’t stay for supper due to the timing of their return journey. When we arrive at the Chelsea Arts Club Wallace is already there with Ronald our long standing architect friend. Just as we have ordered, Martin Horwood arrives to join us - he’d had to go back to the House for a vote that then didn’t take place; he again invites us to go to the House for tea in the Pugin Room and a tour of the portrait collection with the curator. It’s interesting to discover that both his older brothers studied art at Cheltenham’s Pittville too. We take him to see the cartoons in the bar (he’s an avid collector of political cartoons and American comics) before we leave, arriving home at about 3.30am. What a wonderful day it’s been and how fortunate I am to see all those dear friends and collectors most of whom had made considerable effort to be there.

Wednesday 15.9.10

Phew! I’ve managed to do it! and am now back in the empty studio which looks quite desolate!

Thursday 16.9.10

Wallace phoned; he had seen my double self portrait Doubla in m studio earlier in the year and thought then that he would very much like to own it and was disappointed when it wasn’t in my exhibition in Tallinn (because I was still working on it). So was excited to see it in the catalogue this time. But as he’d just had an accident (luckily not serious) in his car, which is a write off, he has had to replace that. But the thing I love about Wallace, is his passion for collecting  which means he buys even when it hurts and he has decided to go for it and of course I will be able to borrow it back for exhibitions.

Friday 17.9.10

I e mail Wallace to say that the deal is done and Doubla is his. He replies that he’s hardly slept with excitement; he says Eamon his brother in law had told him he should just get it and Wallace says why would he need a new car when he can have the painting.

Saturday 18.9.10

Up early on this bright morning to travel up to london to the gallery for greeting people who weren’t able to make Tuesday and even those who were like Henrietta who has come back with three other friends from student days ( I haven’t seen two of them since Henrietta’s wedding, they are such nice girls and we manage to arrive at the gallery just before they do). One of them asks if it would be possible to have a print made of The Supper - she also says she happened to be in Cork Street just before the exhibition opened and recognised Doubla, my double self portrait as being me even though she didn’t know at that time that I had an exhibition there and my name was not yet up .

Lovely Lise Noakes, who used to be Mayor of Gloucester, comes in with her very attractive daughter; they are off to se the phantom of the Opera afterwards. My dear friend Shiela who I have known since we were students, arrives. It’s always a great joy to see her; she’s also a great friend of Henrietta and Becca’s who when they were students used to go to stay with her when she found them voluntary placements with the NSPCC where she was deputy director. I’m most touched as she has bought one of the GloCorama prints and had noticed that a percentage of it will go to a student bursary at Gloucestershire College - she’s also very supportive of my charity work - and a small wood engraving. Lovely Rita has travelled up on the coach from Cheltenham and made her way through the throngs awaiting the Pope as did all the other guests who made it through though Mark Coote and Ben send a message when they are stuck  in the traffic  and have to turn back. Dear Rita’s living room now almost bulges at the seams with the collection of my work that she has amassed over the past fourteen years; she asks if it would be possible to have a copy of the film of me painting GloCorama and we say that Richard will make her a disc.

I’m delighted to see Sue and Andy Roberts who manage to get through earlier in the day all the way from Bourton on the Water. they too now have quite a big collection of my work in their small cottage and it was they who sat and waited an hour until the end of the auction to make sure that they acquired my painted violin inspired by Benjamin Britten’s Peter Grimes. So I’m very surprised when they decide to add Heroes and Villains to their collection. Sue studied art, doing her foundation at Pittville and degree in Birmingham. So it might seem surprising then that she’s a Wing Commander who was enticed by the RAF to become a photographic interpreter rather that doing her MA. She and Andy met in the RAF where Andy was a pilot. It’s a wonderful romantic story. He now flies for a private airline and Sue is in the reserves.

My sister Gill has now arrived and at about the same time Sue Stack who had been into the gallery earlier with Brian, comes in with he son Luke and his girlfriend as I haven’t met them before  even though I had painted a likeness of him in a commission I did for her and Brian.

I now have time to talk to Ruth’s parents who again we have not met before; her Mum has the loveliest of smiles and a very nice sense of humour; her Dad is very tall so one can see where Ruth got her height from. Ruth’s father Geoff is a stained glass expert, particularly restoration of Victorian windows and tells Richard how the colours are obtained.

It’s been a really nice relaxed day. My sister Gill has gone off with Shiela and Henrietta to join her friends in a bar.

Mikhail and I discuss the paintings that he is sending out to the USA and Geneva next week and if I can’t replace them (!!) they will move some of the paintings that are in the lower gallery up to the ground floor. He infers that as so many of the paintings have sold so quickly that we should discuss putting the prices up. It’s something I am always a little reluctant to do as I don’t want to price myself out of my collectors’ range. He said they’d like to do another show in eighteen months time! He’s a very nice man who smiles all the time that he is talking to me, he’s accompanied by his beautiful daughter who is an actress. She also chats to Nathan about her two terms at the Slade doing set design as of course that’s where he did his Masters.

At just after 6 we leave the gallery with Nathan and Ruth having arranged to met Sue and Andy at the Chelsea Arts Club. We are a bit taken by surprise when we arrive as I need to pay £5 a head (going of course to the wonderful Artists’ General Benevolent Institution) to get into the bar (or rather go through it to the garden) where all the couples are dancing to a Mowtown disco the bar having been cleared of all tables and chairs which we spot piled up on the roof (how Bohemian is that!) whilst we are sitting in its garden. Lots of people are sipping cocktails which are being made by two young men who are doing it with style. Nathan gets us these and says they are doing a pretty good job, based on his experience as a cocktail barman in Paris during his teens before he became an art student. Richard joins us with Sue and Andy and there is soon a good rapport between them, Nathan and Ruth greatly increased when Nathan discovers that one of his heroes Mervyn Peake was a second cousin of Andy. At 7.30 we go into the candle lit dining room where Sue particularly admires the paintings around walls including a portrait of Whistler, who founded the Club. Ruth says she loves the louchness of the Club and is tickled when she’s walking through the bar with Richard to see the actor Trevor Eve who then comes to sit on the table next to us. Home about 1.45am.

Sunday 19.9.10

Monday 20.9.10

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Tuesday 21.9.10

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Wednesday 22.9.10

Sit out in the sunshine for a late breakfast after receiving a phone call from Isabelle Bacon who was in Korea visiting her sister when my exhibition opened and wondered if I’d be at the gallery on other days. I mention that on the last day, 16th October, there will be a Cork Street Breakfast when all the galleries will have an ‘open house’ between 10 and noon for the purpose. I tell her that my dear friend Margus is hoping to fly in for it and to collect his painting Learning to Fly. Practice my little speech for tonight trying to make some semblance of order that I will remember. The gallery ring to see if I am agreeable to another deal they have just done with one of my collectors on another work. I’ve just got changed when I get an excited phone call from Richard who was looking in Cotswold Life as we knew they were putting a small piece in about the exhibition even though the details were a little late in getting ot them. It’s not that that he mentions but their list of the top100 ‘movers and shakers’ in the Cotswolds and I’m flabbergasted when he tells me I’m at number 48 with David Cameron (as MP for Witney) at number 1 followed closely by Prince Charles and Prince William & Harry etc. Each box has the reasons why and I love the fact that they have put “The work of this Cheltenham based artist not only stands out from the crowd - it often features a crowd. The human condition is her focus. Internationally collectable she’s been compared to Balthus and René Magritte..”

When we park just up from the Playhouse we can see Graham and another member of the Cheltenham Arts Council waiting on the pavement to greet me. Graham takes me into the bar where I meet several people I know and others who introduce themselves. And there’s our Liberal Democrat MP Martin Horwood already back from the party conference in Liverpool. It’s always a joy to see him and it was he who presented these awards last year. The Playhouse is a lovely little theatre and its quite warm sitting on the stage in the bright spotlights. It’s a very joyful occasion all the citations go to people who work voluntarily in a selfless way to encourage opportunities or organise within their groups who range from

Angela Walker

for her contribution to the musical life of Cheltenham through her invaluable support to Cheltenham Chamber orchestra and Musica Vera

Wiggin Osborne Fullerlove (solicitors)

In recognition of their long-standing support for the education work of the Cheltenham Festival of Music

David O’Connor

for his outstanding work in raising awareness of Cheltenham’s local history through his scholarship, illuminating writing and talks

Dr Warwick Cole

for the huge amount of time and talent he has devoted to encouraging young people to make music

Heather Woodward

for her highly professional service to Cheltenham Art Club and encouragement in developing art within the community

Helen Benson

for her work in promoting the visual arts in Cheltenham through her tireless, selfless and wide ranging support for the artists in the Cheltenham Group

John Kennett

for dedicated service and imaginative contributions to the Cheltenham Deutscher Klub over a long period

The Joyner Cup for the most outstanding candidate of the citations

Chris Lammiman

for his substantial all round contribution to the development of the arts in Cheltenham through his leadership of many arts related organisations

Marjorie Imlah

for her substantial contribution in ensuring the ongoing success of the Holst Museum through her enthusiasm, energy and encouragement

Cheltenham Opera Group cup for enterprise and innovation in music making

Bill Bell

for keeping alive the difficult and challenging task of performing a wide variety of classical and modern operatic works as full scale costumed live performances on stage

It is such an honour to be asked to do this and a chance to meet people who I might otherwise not meet. Each person gives a little speech of thanks to the group they work with and to the Cheltenham Arts Council for honouring them in this way. After the presentation of the citations and cups I give a four minute speech:

I tell them I’m honoured to be there to share in this glorious occasion that I’m truly humbled and in awe of their generosity of spirit talent and intellect. That in this age where everything seems to be measured in financial terms, it is so refreshing to find people who create for the sheer joy of creation, whether it be making music, painting pictures continuing cultures and languages, the reading and writing of literature, the research and sharing of history and doing so much to nurture and encourage the young. It is they who lift our spirits in good times and bad through adversities such as war, recession and personal tragedy and it is therefore fitting that the wonderful Cheltenham Arts council is honouring them with these citations and cups as a thank you for all they have done and are doing and a pat on the back to help maintain momentum. I tell them that when young people approach me to ask how best they should carve out careers for themselves in the visual arts I say that there is really only one criteria and that is to create for the sheer joy of creation. So I would like to offer to all of you my heartfelt thanks and gratitude for all that you do to enrich the cultural life of Cheltenham - without you it would be a very much lesser place and to say ‘bravo and congratulations’ and to plead that you continue in all your wonderful endeavours. In the words of that famous rock poet and musician Bob Dylan to “keep on keeping on.”

We’re just making our way off the stage when I’m asked to stay for the photographs and suddenly there is Mikail my favourite Echo photographer who says “hello darling” and begins to arrange us with me in the centre and before taking individual portraits of all the recipients of  awards. We chat briefly to people including a lovely man who is both from the operatic society and on the Arts Council who tells me I’m a powerhouse and taking my face in his hands begins to sing. We have to beat a hasty retreat as the curtain is now up for the evening performance of 84 Charing Cross Road by the Cheltenham Opera Group.

Thursday 23.9.10

Working in studio whilst R drives to London with the large street scene that Ken and Nancy had loaned to me and I persuaded them to allow me to put into the exhibition to replace paintings that they are sending out to the collectors in Geneva. R has an interesting discussion with Mikhail who is keen to book the date of my next show although wants to respect my existing commitments.

Friday 24.9.10

Up at 5.15 as need to be at the NHS headquarters for Bishop Michael’s breakfast meeting. It’s continuing the debate on the financial cuts and problems with opportunities for the young. We have fewer apprentices here than in any other county David Owen of Gloucestershire First tells us. One of the points that came up in the discussion afterwards was how to make vocational courses as attractive as the more academic disciplines. this has probably always been in a dilemma, the snobbery of the upper echelons. Of course the architect needs the brickie more than the brickie needs the architect. The brickie will often, like the architect, build his own house but he does it with his hands whereas the architect can usually only visualise. Yet the pay structure will probably be vastly different and this and the social standing create the big divide. In this day when we seem to measure achievement by the financial rewards the yawning gap between the lower paid and the higher is ever increasing and it is perhaps at our own peril that we allow it  to continue to do so to do so. We should perhaps look at architectural practices like Richard Rogers’ where no-one in the firm earns more that six times that of the lowest paid; surely this is sufficient differential. Wouldn’t it be refreshing if each top dog  who knows they are held in very high esteem for their achievements, enjoyed the position for the sheer pleasure of it rather than keep adding to their vast salaries. If instead they took a pay cut so that someone at the bottom isn’t made redundant or another student or apprentice has an opportunity to work or study. I don’t think we are setting a fine enough example to the young; how can we expect them to be attracted to the honest day’s work for the honest day’s pay when we are so in admiration of the high earner or the celebrity status of many a hollow vessel.

Later in when shopping in Russell & Bromley the sales assistant says she has seen things in the paper on my work, which is rather ironic as Richard had just picked up a copy of the Echo which has a photograph on the front page of me presenting the Joyner Cup (for the Cheltenham Arts Council) to the wonderful Chris Lammiman who has been honoured for his outstanding contribution to the arts in Cheltenham; the paper have also given the centre spread over to these arts heroes. I’m very pleased to see they have quoted a lot of what I’ve said in my speech afterwards. The Echo are wonderful at supporting the arts and launched a campaign to save the festival of performing arts and more than 2,500 people signed the petition handed to council bosses in June. Negotiations about the event’s future are ongoing.

Saturday 25.9.10

Good day in studio working on “The Dance of Time”.

Sunday 26.9.10

More of the same.

Monday 27.9.10

Ditto

Tuesday 28.9.10

Ditto

Wednesday 29.9.10

Ditto

Thursday 30.9.10

Work until 4.30am on Dance of Time....................................