Introduction This is a book about the words which
go with my drawings. The tenth anniversary of my first drawing using the silhouette
people has just passed: August 6, 1992. Fiona McCarron, who bought the drawing
all those years ago, now has it hanging in her downstairs guest bathroom! At a
dinner party in her home recently I noticed the date and I thought now would be
the ideal time to write this book. Background If I were to
do a drawing about my life at the time I drew my first pen and ink drawing, the
words would probably begin like this:- ....................It was the
late sixties I was fifteen The 46A was my bus Somebody wrote a song
about It and yes, It was that great! I went to school in the Dominican Convent
in Dunlaoire It is now a Shopping Centre and a multistory Car Park ..................
It was a very exciting time to be young, school was fun and I had a wonderful
art teacher with lots of free time since I was exempt from Irish and religion
classes because I was Danish. I spent a lot of time in the art room. She was an
excellent teacher and taught all kinds of art including still life and pencil
sketching using live models (fellow students). I also learned to draw with a quill
pen dipped in an inkwell. During my final year at the convent I read The
Hobbit and Lord of the rings and as a result made my first pen
and ink drawing - Using a quill and inkwell I went on to Bolton Street
College of Technology and while there, I learned to use the draughting pens I
now use for my drawings and I have a Diploma in Architectural Technology. I worked
in architectural offices for seven years specialising in large scale housing developments.
I married, moved to Wicklow and we have three children Leo, Karl and Sophie. My
creativity developed in many different directions before settling on pen and ink
drawings. It was during this time however, when the children were small,
that I began to draw a lot for relaxation. Pen and ink mixed very well with small
babies. All you need is a piece of paper and a pen - you can draw for an hour
- change a nappy - draw a bit more - feed the baby - very relaxing..........
I also taught sewing and crafts, privately and for the VEC. Spent three years
turning the field where we built our house into a self maintaining garden. I learned
upholstering at night classes and revamped old furniture in fabrics and in leather.
One year I made foam filled furniture for holiday homes, later I designed and
marketed a range of childrens wear. I made puppets for a TV programme and
adult size costumes for Hopkins toy shop. I worked several years with all
kinds of leather, making handbags, luggage, a wide variety of suits, jackets,
skirts and accessories including a very unusual leather suit in shades of brown
for Jean Hopkins, which was made with knots tied in the leather. Huge quilted
bed spreads in silks were made from left over wedding dress fabric and I even
made a christening dress from one of the wedding dresses I had made earlier. I
made quilted and appliquéd wall-hangings both in fabric and in leather.
But mainly I designed and made ladies clothes: Anne Laits strap suit was
featured in It magazine. I had great fun making unusual debutantes
dresses, girls that age have great imaginations! Michelle Coffeys off the
shoulder cream silk and black lace gown was spectacular. I specialised in
making unique wedding dresses: Michelle Pippets wedding dress had 12,700
individual beads holding it together and stitched all over it, the headdress,
combs and veil, it even had a special series of loops which allowed the enormous
bead covered train to be folded up into a bustle and short train suitable for
dancing! I staged a number of fashion shows featuring the clothes I made
in Blainroe Golf Club and local hotels. Recently I looked at the video of the
fashion show the WCS ladies, Bridie Cardiff and I staged in December 1991 for
charity, where all the ladies modelled clothes, I had made for them mainly wedding
and debs dresses and friends bravely modelled some outrageous outfits I made for
the occasion! We did have a lot of fun but eventually I found that working
to other peoples requirements was too restricting. I began to concentrate more
and more on drawings because in my drawings I found total freedom. I used
to keep my drawings in a folder and the only people who ever got to hear the words
were those who asked. It was Michelle Morrison who was responsible for suggesting
an exhibition. In 1994, Renaissance III Gallery, County Buildings, Wicklow,
staged the exhibition for me and it was a success! - I was an artist.
I received a Feasibility Study Grant also from Wicklow County Council
and set out to determine if I could make a living out of being an artist? I decided
that the best way would be to make limited edition prints from my drawings. In
that way I could keep the original, I would have to draw all time because limited
editions can never be reprinted so when the prints ran out, I would have to draw
another! The edition size is decided when it is printed and is written as a number
on each print, usually in the bottom right corner with the signature. I used some
grant money to get six large and four small drawings printed up on beautiful character
laid,recycled board and tried to get them accepted into a gallery. Life,
Freedom and Relationships were limited and Grey
Lady also printed in black gloss became an open edition print - Open edition
means that the image may be reprinted as many times as you like, in any size or
shape or on any paper. But it was not that simple, I had not been to Art College,
I had learned to draw in a technical college, so I had no contacts in the Art
world. I was never taught to produce my prints from metal plates as etchings,
so what and how I drew did not comply with acceptable Art world standards,
nor did I use either oils or watercolours, so therefore I was not acceptable in
commercial art galleries. One gallery owner actually laughed at me over the telephone
when I asked her to look at them. All but one refused: Green on Red
was the only exception. Jerome Odrisceiol took the time to look at my drawings,
in the boot of my car, (he was on his way out of the office), he told me they
were good and that I should look for other outlets and not give up! Lesson
number one:- Pen and ink drawings or prints by unknown artists were not acceptable
in Dublin Art Galleries! Never daunted I looked for new avenues. I added
greeting cards and postcards to the prints I already had, called it A Range
and tried a series of framing galleries, these are shops which sell original paintings
and prints and also make frames. I bypassed the telephone, instead calling in
person at each gallery, waiting patiently for the owner or he or she who made
decisions, sometimes having to call back later - but - Success on day one! Framwork
by John in Dunlaoire took them on sale or return!! Success on day two! Eoin
McElligott working in a framing shop in Stilorgan, which shall remain nameless,
did the same! I was on my way. I also met a lot of very nice people who gave me
both advice and encouragement. Lesson number two:- Listen to
those who have been there, done that Among the advice I was given were:
Become a member of the Crafts Council of Ireland, become a registered artist and
take a stand at Showcase 1994, the main craft fair in Ireland held in the RDS.
I did all three and was successful at Showcase immediately although my stand was
in an annexe, off an annexe, through a corridor, past the toilets! I met Killian
Halpin, Ann Marie Rogan and Gerry Crosbie and made my first sale to Whichcraft
Gallery a top quality craft gallery in Dublin! The first order was
followed within a week by more and since then my work has been accepted in up-market
craft shops all over Ireland. Lesson number three:- If at first you
dont succeed ................................................... So
if you take - One charismatic Art teacher, The Hobbit, Architectural
Technology at Bolton Street, add one husband, three children, a lot of fun and
luck, add some twenty odd years of working for a living - and finally an irresistible
urge to create...... Then the above are just the ingredients for what follows............................
The Power of Images AND Words The beauty of a pen and ink drawing
to me is its basic simplicity. Everything is either black or it is white.
The fascination of drawing with pen and ink are the endless possibilities. With
the exception of colour which it is possible to suggest but not to define, there
are no limits other than ones imagination restricting what to draw next.....................
What I draw are feelings and emotions. A constant with human beings is that we
go through the same emotions, irrespective of our colour, creed, economic status
or geographic location. In my drawings I use stylised silhouette people -
with body language and anyone, who has been in the same situation as that body
or felt the emotion suggested by it, should be able to relate to it. My very
simplistic perceptions of everyday life today enable the viewer to recognise themselves
or their situation in my images. If words are added then there is no emotion or
feeling one can not evoke. Some images need lots of words, others only one.
Love, hate, disappointment, surprise, loneliness, happiness or fear, the odd thing
is that we sometimes believe that we are the only ones to feel love so deeply,
loneliness so intensely or despair so completely. We feel that nobody could possibly
ever have felt a feeling quite like the one we feel now. When we realise our folly
it can often be both a relief and sometimes even give new hope. The bodies
are used to tell stories, sometimes just a sentence, sometimes a short story,
sometimes an epic but the real power lies in the combination of Images AND Words.
By adding simple words to images they can become very powerful. Imagine a
man standing on the edge of a cliff! - If that drawing were titled Sunset
it conjures up images from the viewers memory of beautiful sunsets and colourful
skies - If however the title were: Missing you The viewer is faced
with quite different emotions. Titles and words allow me to suggest a specific
line of thought, suggesting a situation and supplying the happy ending or at very
least, hope. This is what I try to do with my drawings. My process of creating
an image always results in a drawing with words already attached. It can be either
words first or idea first, but since I am drawing emotions using body language
I have to develop a little story for each body before I draw them and all the
bodies on the page interact so a larger story develops. Sometimes the words remain
as they arrived, sometimes I edit them. I did not always publish the words
with the images, Eoin McElligott is responsible for that suggestion - and therefore
without him there would be no book. I used to tell him the words as I was showing
him a new drawing and he would say everybody should hear the words. Originally
I hand wrote them, one strip at a time, then later I got them printed and now
I always have them printed with the images. Using words and images together
in this way, it is easy to cater for and comment on, human conditions like for
example Curiosity. Most people are naturally curious. Approaching
this idea from two completely different angles:- In The Apartment
1995 I allow curiosity free rein and throw open all the doors of an apartment
block - Here the words are just confirming the type of occupant inside and what
they are doing! Whereas in The Crack 1999 the words are used to comment
on one possible side effect of people being curious! I see life as a series
of drawings - Everyone around me - my family especially - influence what I draw.
The last ten years of drawings and words reflect changes in circumstances both
social and historic:- Marriage 1994 or The Human Race
1997 reflect society and Freedom 1994 was drawn when the wall between
east and west ( Berlin ) came down. Others are tongue in cheek like Lifes
too short to be boring 1996 , yet others are suggestions - Variety
is the spice of life 1999 or Making up 2000 and quite a few
are wishful thinking? Peace on earth 1995, If I only had time
1998 or Tranquillity 2001 and others are......................
You can now skip to the Image and Words pages................ Where you will
find what this book is all about - Images and their words. The next few pages
are just me, expanding on the paragraphs above. So if you have had enough please
turn to page 12 If you and I were to meet and you were to
ask me about my drawings, what follows is probably what you would hear - Did I
mention I talk too much! I have too many ideas, for too many drawings all the
time. The initial idea for a drawing can arrive as I am drawing it or it can be
with me for days, months, sometimes years, before I have time to put it on paper
- I really enjoy developing my drawings on many different levels and inspirationally
why, the mechanics of what shape, technically how and even when my drawings arrive,
is seldom simple:- Inspirationally why When I am asked how
do you get the ideas for all this - It is impossible to answer - there is no pattern
or recipe - my work evolves by way of my urge to draw adapting to current circumstances.
Each new idea or new drawing could not have been born without the input of people
around me and the restrictions of my situation. I have too many ideas all the
time! I do not like to tackle sad or desperate subjects. Instead I like to
suggest hope. Making up has the following words .....do not
leave it too long because the longer you leave it the harder it gets The
pain of a father who wants to contact his estranged child is not visible, but
a drawing as simple as this can have the power to make that connection! Putting
back the pieces refers to lives which are shattered by loss of any kind
- but if you add the words:- ........With enough time and enough glue......
Where Glue equals Love - then there is hope! In fact hope is probably the theme
I use most in my effort to escape the reality of life today. When I do use a desperate
image I always supply a happy ending, as I did in The Apartment 1995,
where there is a man on top of a large building on a ledge, I sit him down and
even if he were driven to jump, I have placed cardboard boxes below to break his
fall and save him! In Life 1994, where innocent people get injured
in the crossfire of War or suffer accident (represented by broken steps in the
staircase ) I have given them a doctor and a nurse below, so that they may be
saved, as they may sometimes in real life. I am an optimist - Quite like Mr. O.
in The Optimist and the Pessimist 1996 - and while I know the world
is full of sadness and unhappiness, I also firmly believe that there is a lot
more good in the world than bad and that goodness will always triumph. This is
a theme which runs thru a lot of my drawings because sometimes it is enough
just to know that it is so. A few drawings like Long distance
cause people to contact me - to tell me of their personal story. I have had many
personal letters from all over the world, telling me how this drawing has made
them think of loved ones now gone - of separation, longing and loss and yet this
drawing was inspired by my son Leos holiday romance! The power of words
and images is very, very great and I like to use it to supply memories and hope.
With communications as they are today the whole world is open to all. One
individual can reach people all over the world - Comments and requests arrive
via letters, telephone calls, emails, shops, friends and I personally met a lot
of diverse people at events like Showcase in the RDS in January Showcase
is one of my favourite weeks because it is the only time when I get feedback directly
from a wide cross section of people: Some who do not like my work, some who do
like my work, some who buy it as a present for another or for themselves, some
who buy them to sell them or just people who work at the RDS - everyone from the
security staff, maintenance, other stand owners, drivers, chefs and even the management!
All have something to say! This was how my collaboration with Rob DEath
developed and the Pottery Range was born! Emails are a recent particularly
rich vein of information - for example currently I am in conversation with Sophie
from Phoenix, Arizona - a recent visitor to Ireland and Joe, who is a police detective
sergeant in the States specialising in Crimes Against Children, a lady connected
with the NHS in the UK and another with the following beautiful handle: - Luz
Mar González Arias, Prof. Asociada, Depto. Filología Inglesa,Campus
de Humanidades El Milán,Universidad de Oviedo, 33071 Oviedo, Asturias,
Spain - who is asking to use one of my images; Mná na hEiréann
1994, in an article she is publishing, by the way, did I mention that I have the
best job ever and am the luckiest person I know. My image Tara 1994
graces the cover of an Irish music cd in Tasmania, a section of the open edition
Golf 1994 is currently being used, without my permission, on a business
card by a golf instructor! Mná na hEiréann 1994 has
been published with an article by the former president of Ireland, in a Canadian
publication, it is also a book cover in Canada, the open edition Maze
1994 has been published in an adult learning book, here in Ireland the list goes
on.... Mechanics of what shape First,
before even starting a new drawing, I determine the overall look which would best
suit the idea - its size, shape and style. Visualising the image framed.
Every part of a drawing has meaning and purpose. To me the space left around an
image is part of what I am trying to say - For example: Will it be lonely
2002, is much more lonely because the body is placed in the bottom left hand corner
of the print, the image is also set in the mountboard in the bottom left corner
whereas with The Human Race the image fills the paper almost to bursting,
its mountboard is minimum width, suggesting a busy, bustling race! Others
like: The Short Stories series, have no mountboard at all! Even the frame itself
can be used to create different levels within a print series The implication of
what goes on as the image disappears under the frame in Against all odds
2000 where only half the tiger is visible or as in the Series II Starsigns
2002, the body on the cusp is hidden behind the frame of individual starsigns,
visible only when two or more star signs are framed together, in that the frame
overlaps the image slightly, when there is no mountboard!! Size and shape
are not determined solely by imagination either, they are ultimately restricted
by the practical limitations of reproduction and presentation. I.e. Printing and
Framing. Framing is currently limited by the size and colour range of mount board
- Printing by size and standard of printing press. P.S. David my framer can be
seen on the 8th tee and John, my printer, on the 2nd tee of Golf 2002
- In fact, John was instrumental in opening a new avenue of possibilities when
he told me that his new printing machine could bleed the image to
the edge of the paper along three edges!!!! Result Series II Starsigns
2002 I could now draw on two A2 sheets, butt them together because he could print
the image right to the edge! My maximum size restriction became twice
what
it was before and I can have black to the edge of the print without trimming!
Unlike The Party 1999 and The Challenge 2001 where I lost
about 12mm at the top and both sides just because I wanted to have a night sky,
My problem is always that the printed page is never big enough!!. Size horizontally
is now determined not by my printer but by my framer. These restrictions
are of course not all negative - Johns maximum print size a couple of years
ago was only A3 - As a result Success is what you make it 2000, is
made up of three printed pieces, which all fit onto an A3 sheet, joined by mountboard
and framed as a picture 820mm deep. The restrictions of my printers machinery
was thereby directly responsible for the shape of one of my favourite prints.
Likewise Colette Boland, at Showcase 1998, suggested that a short story size would
make a very nice addition to the range - from a craft shop owners point
of view - There are now 56 images in that series, it is a great size to draw for
using my silhouettes - She was right. I often wonder if there were no restrictions
what shape would I draw next.........? Technically
how The average adult body is 3cm tall - There are no thin people and
no fat people. There is only one colour. A body has no clothes unless specifically
required by the story line. When a person dies he or she becomes an outline, a
memory, still there but in spirit only. After Life 1994
which was the first drawing to be printed I made a series of exploratory drawings
to discover the limitations of the human body and my pens. Mná na
hEiréann 1994 is a map made up of female forms doing exercises, Lips
1994 is a mouth of couples, Grey Lady tries out a larger scale and The Four
Seasons are trees, all four drawn entirely using only bodies, from babies
to adults. Maze 1994 however is special - I thought it would not be
possible to depict straight lines using only bodies - or parallel lines or convex
or concave right angles? Yet this small drawing, its size makes it even
more difficult, manages all these - so as a vehicle for illustrating emotions,
the human body has no technical limitations that I could find. I continued the
development of the technique through the years and as the drawings are more or
less in chronological order you can see the way the style has gradually changed.
The size of a first sketch can be anything. For example Freedom
was sketched full size almost complete, whereas The Challenge was
a tiny scribble about 75mm x 100mm and the first 8 Jars were sketched
on a single brown paper envelope! Which I still have. Developing the idea
is the next problem - deciding how to depict the components of what I am about
to draw:- A good example of how I do it would be Golf - The first 9
2002. I had to find a way of drawing nine golf holes, assuming that the average
golf course is 7100 yards long, on paper 640mm x 420mm in size with no perspective!
To depict 4 kinds of grass: Greens, Fairways, rough and deep rough, not to mention
bunkers, shrubs, trees and water. In this case it took days and days just to define
these by doing a series of sample drawings. Then research was required before
inventing a golf course which has to have proportional holes - pars 3s to
par 4s to par 5s - as well
as calculated yardages
which also had to total standards - Then the water had to traverse the course,
form a lake and must flow downhill, as we all know water does - Then design the
bridges, flags and signage - All I had to do then was depict a batch of recognisable
golfers, scatter them over the course - evenly - add hundreds of spectators and
I was ready for the next stage:- Making the actual drawing combining all these
bits, to scale, correctly on one large sheet of butter paper - (like grease proof
paper but thinner) This is then corrected with overlays where I make mistakes
and usually ends up looking like a patchwork quilt (Remember if you make a mistake
with pen and ink you have to start again - you can not rub anything out) All details
have to be fully resolved - because no adjustments are possible from now on.
Then this pencil drawing on butter paper is traced over with .2mm rapidograph
pen - Pencil is rubbed all over the back - sometimes in sections because it is
very messy - The butter paper is then laid over the drawing paper and every line
is traced over with a sharp pencil - Leaving a lead imprint on the drawing paper
below. The entire drawing is then redrawn in pencil on the drawing paper, from
those imprints. Next - and this is the bit I really enjoy - each and every line
is then traced over with pen (.2mm), this has to be done very slowly - very carefully
- with no mistakes - Only the small segment being worked on is exposed, the rest
is protected by thick paper because if you touch the drawing paper with your hand,
ink will not adhere properly to that area and also after it has been inked in,
it must be protected from dirt - When you come almost to the end of a very complicated
drawing, it is almost frightening because any mistake now, can loose weeks of
work! The pencil lines are then rubbed out and finally all bodies are blacked
in (.35mm-.6mm) and all features are completed. Then all that is left are the
words - Which when composed are hand written onto the drawing paper in pen - and
this is very difficult - one tiny slip of the pen - one misspelling - one sneeze
and you have to start again - It sometimes takes two or three attempts! The
drawing is then brought to Paul who makes a film of it - which goes
to the printer who first makes a plate and then prints the edition run - which
has to dry for two days - then the print is trimmed and the words separated and
I then check, title, sign and number them all. Now you know why I make prints
from my drawings, a large drawing takes anything from 4 weeks to 8 months (The
Four Seasons) to complete - My ambition is to make a living out of drawing.
When my drawings arrive Everyday life and everyday happenings are my
source. Drawing, not only from my own perspective but also, from that of others.
Coli ODonoghue described me as an eclectic artist because I collect information
about people, all people. I try to imagine what goes through other peoples
minds in situations which I observe. Brian Waldock recently said to me You
must get very little work done if you spend as much time talking to others as
you do to me this in a nutshell is what I do instead of research - Life
to me is a series of drawings - there are no situations which are impossible to
draw - No theme which it is impossible to depict. Primarily I like themes
which express a particular emotion. Brians statement was a case in point
He already was the subject of a drawing: And what did you do today Darling?
1997 - A drawing made to launch an Original Art Exhibition in their gallery -
I actually drew the Waldock Gallery itself into the background of the print, even
including my own prints which were in the window of the gallery at the time. With
this drawing again it is the words which say it all - The drawing is just a record
of two almost actual days in my married life, (Not the same day (I cheated!))
The humour lies in the fact that busy husbands and busy wives often think the
other has The Easy Life. She lazes around the house all day and He
has a secretary to act on his every whim. In fact it is just that they have different
lives - busy, important, but different. For The Whichcraft Gallery Exhibition
1999 it was the location that the drawing was to be hung in (Coffee Shop) and
my sore tooth which inspired The Waiting 1999 a drawing of a queue
(think dentist/starving) it fills 6 frames and measures just over 4 meters long,
hanging on the wall. This book itself has spawned a drawing of its
own - it is the image printed on its cover and dust jacket titled 15
Minutes of fame 2002. It represents all the people I have included in my
drawings up to now, which is just about everybody I know and the imaginary others
who would really like to be in a book or write their own book. Excluding
members of my family Nichola OHanlon appears most often in my drawings,
she is a work colleague and friend, employed by Whichcraft and has direct contact
with the people who buy my work, we speak a lot on the telephone, she is last
seen doing the dance of the seven veils - and pushing an enemy off a (shallow)
cliff - representing as she does very well, the starsign of Scorpio in Starsigns
Series II 2002. Among others she also appears in If I can dream
2000 and New Millennium 1999. Killian Halpin, a prolific rock climber,
is personally responsible for the propensity of rocks which have filled my drawings
since July 2001 - Rocks are a very easy vehicle for depicting emotions - It is
so easy it feels like cheating - but Killian reckoned if rocks are what you like
to draw, then draw rocks! Trusting, Tranquillity, I
did it my way and Hope all 2001, The Challenge 2001
and the Starsigns Series II 2002 which contain a 1.4 meter wide stretch
of rock, are pure indulgence! I met Margaret Davis yesterday, she saves me
when my accounts are tangled, which is most of the time. She suggested I should
relate the following circumstance in my book:- On my way to Wicklow to buy school
shoes etc. for my son Karl, I enjoyed a white chocolate ice-cream while driving
- I managed to drop several bits of white chocolate onto my blue shirt - they
of course melted leaving a multitude of white smudges down the front of my shirt!
- I spent the following hours shopping making excuses for the state of my
shirt and trying to cover it by:- a) Folded arms - b) Handbag in front of - c)
Twisting the shirt till the offending smudges were not visible! I am including
this account to prove that her opinion of me is correct. Quite often this kind
of off the cuff remark influences another drawing as in the case of Patricia,
my sister-in law, who asked How do you decide what to draw Answer:-
It does not matter what I draw - it is the words which make it appealing
- I bet if I were to draw you standing on your head someone would want to own
it! I drew her standing on her head for the next exhibition, Whichcraft,
15 October - 15 November 1999 and called it Where is the sand? The
title which compared her to an ostrich, made the image funny and someone, somewhere
is the proud owner of a drawing of my sister-in-law Patricia Brooks, standing
on her head. Collecting odd pieces of information to use in my drawings
is something I enjoy - To illustrate:- Until my favourite newspaper crossword
puzzle no: 11,572 - I did not know that Nature abhorred a vacuum!-
which is a very interesting fact and some day when I want to draw a vacuum perhaps
I will use that analogy. In this way the details which help make up my drawings
are stored in my memory until I need them. This is why, when I now draw the same
theme I drew ten years ago, it may be the same general idea but my way of depicting
each element will have changed by ten years added experiences. My vacuum
of the day I did crossword no: 11,571 (The day before crossword no: 11,572) would
have to depend on some other inspiration for its origin. My erstwhile english
teacher in Caherciveen, Co. Kerry, has a lot to answer for when she told me, at
the age of 12, to do crosswords as a way of expanding my english vocabulary!!
One moment in time is a drawing which was completed years ago and
which had words then, but when my Grandparents recently died, just a few days
after each other - They had been married for 70 years - the words became relevant
and I finished them and published the print - Once the words are fully written
I do not like to change them because I believe that the inspiration for the image
and the exact situation which inspired those words will never be quite the same
again. The drawings are limited editions which run out and of course can not be
re-printed so if I want to tackle the same subject again I do it anew - for example
when my son Leo ............... The inclination here is to refer to the words
of one drawing after another .................... after another ...........
So you now know the reason for writing this book..............
What
follows are all the prints I have published and their words. Where the words have
not been published before I have put them in italics. Note
added 25.March 2004 These words are taken from my first book which was
published December 2002 - There have been lots of new images and developments
since then and I am now working on my next book............................ If
you would be interested in the First Edition of my second book you can reserve
a copy now and select the number out of the 500 you would like - for example you
can reserve any number with the exception of number 1 - My mother always has that
booked! The price of the first book was Euro 95.00 including an exclusive
copy of the illustration on the cover of the book - Link
to First Book Reserve
a book Reserve a book will only be available after the
official Launch of the new look site middle of next month ! |