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Conjunction 14 - An Announcement
AirSpace Gallery would like to announce the cancellation of this year's Conjunction Biennial and to say that at this point there are no further plans to resurrect it.
On the surface, this might seem like a sad announcement, but we'd like to emphasise that this decision is a purely positive one. In cultural terms, Stoke-on-Trent is almost unrecognisable from how the city looked a decade ago. From its inception in 2006, Conjunction and its series of Biennial Festivals sought to fill a visual arts gap in Stoke-on-Trent and create a greater sense of co-operative partnership working in the City. In the intervening years, the arts situation has changed to a point where today, the city's cultural output is brimming with activity. The British Ceramics Biennial is firmly rooted in Stoke's cultural scene, having delivered 3 distinctly successful festivals celebrating the critical worth and exciting future for ceramics in Stoke and beyond. The Creative People and Places project, Appetite, is doing great things with a significant amount of Arts Council investment to enhance audience involvement and create exciting new cultural events and performances, whilst also committing to creating opportunities for the city's current cultural providers and individuals. The Stoke Your Fires animation and film festival is going from strength to strength, there is Staffordshire University's burgeoning annual Fringe Festival as well as a host of other arts festivals springing up all over the city – such as the London Road Festival in Stoke – which are all helping to create a vibrant mix of arts offering for the city.
More importantly, the sense of cross-organisational support among Stoke's major cultural providers, key stakeholders, small groups and individuals has never been stronger – something which was right at the core of the ideology of Conjunction.
AirSpace Gallery remains fully committed to what we see is the crucial role that the Arts has to play in the ongoing successful regeneration of our city and, in particular will be continuing to work hard, in conjunction with all of those people and groups we have worked with before, to ensure the presence of high quality contemporary visual arts. We are also very excited to be a central part of a soon-to-be announced initiative for the City, which will further enhance the cultural output of Stoke-on-Trent through an embedded notion of combined strength through co-operation.
Finally, we'd like to say thanks to everyone who has been involved in all of the Conjunction activity, helping to make the events as enjoyable and successful as they were.
- The AirSpace Team
CONJUNCTION - A SYNOPSIS
Conjunction actually started, in 2003 as a University exhibiting project by David Bethell, Andrew Branscombe, Simon Kennedy and Timothy Brussels seeing annual "open" exhibitions in 2003,04 and 05. This period of action research learning led the huge nationwide Conjunction 06, led by Bethell Branscombe and Matt Roberts which showed in London, Birmingham and Stoke on Trent and included over 50 local, national and international artists. Ultimately these early days of Conjunction led to the creation of AirSpace Gallery, as Bethell and Branscombe used the experience gained through the Conjunction shows to embark on the bigger project of creating and developing an Artist Led space in Stoke-on-Trent.
Identifying a gap in critical visual arts provision in the city, AirSpace Gallery's mission was to the centre for the Visual Arts in Stoke-on-Trent and the region, providing gallery, studio, educational and meeting spaces.
AirSpace Gallery is still going strong, maturing into a nationally recognised and respected artist-led space and throughout the intervening years, Conjunction has remained a regular presence. However, from the characteristics of its inception, by 2008, the ideas behind Conjunction transformed at this point from an exhibition project by its creators into an autonomous Bi-ennial of Visual Arts with a particular focus on creating organisational partnership working and a multi-venue structure in the City.
Organisations and groups working in conjunction with one another.
The hope that this partnership working with several of the city's existing cultural providers would put the contemporary visual arts at the forefront in Stoke-on-Trent at a time of post-industrial redevelopment and regeneration. But, moreover, it could foster a sense of co-operative practice which in turn would create foundations and a legacy of quality critical visual arts provision, with a sense of ownership across the involved organisations, that would endure in to the future.
Conjunction 08, with its theme Fantastic, Found and Fake Conjunction 08 was designed to shift perceptions in Stoke-on-Trent and to stimulate regeneration through contemporary art. The Biennial saw the works of over 40 artists and included 25 new commissions by artists of international, national and regional significance. In total, 11 venues hosted artwork, including The Potteries Museum And Art Gallery, AirSpace Gallery, the 18th century Bethesda Chapel, as well as an empty retail shopping unit and a public car park. It was estimated the this first Biennial attracted over 5000 visitors to the city in just over a month.
A memory - LITTLEWHITEHEAD
[enlarge]
Littlewhitehead. after the Good Samaritans# 56 [13 November 2008]
Good Samaritans Foiled by Art's New Enfants Terribles
Last night two members of the public tried to rescue a man whose voice could be heard calling for help from the boot of a crashed car at Staffordshire University. The Good Samaritans smashed into the front of the car in order to reach the boot only to find that the voice was a recording on loop as part of the new art work by Littlewhitehead. The piece was commissioned as part of the Conjunction 08 festival, Stoke on Trent's Arts Biennial organised by AirSpace Gallery and partners.
Littlewhitehead are muliti sensory installation artists who play with ideas of reality and fiction. This is the second time that the Glaswegian duo's work has caused extreme reactions in the public. Their work in the New Contemporaries exhibition, as part of the Liverpool Biennial, has recently been attacked by members of the public; where visitors to the exhibition were seen punching and kicking life size hooded and balaclava clad figures
http://news.bbc.co.uk/local/stoke/hi/people_and_places/arts_and_culture/newsid_9113000/9113566.stm
Conjunction 10 – With its theme of Escape, built on the multi venue/organisation structure and added to it with the involvement of one local gallery, the use of Staffordshire University's brand new Cadman Gallery, and, highlighted the approach further by touring a large group of visitors around 6 City Centre venues, including a skate shop and a vacated former hairdresser's premises in its Live Art Day.
http://www.airspacegallery.org/index.php/projects/conjunction_10_escape
A memory - ADAM JAMES, A Beggar's Belief
taken from annafrancis.blogspot.com
Artist Adam James had taken over an old hairdressers, filling it with piles of old clothes - creating a fabulously deranged landscape. As we arrived on the street where the space is I was surprised to find the madness leaking out onto the street, and not being contained within the space - in relation to what we had just seen the energy here was oozing out in all directions. Adam James had assembled a troupe of performers, musicians and VJs - creating a world of fallen heroes - gods, now crazed run amok in the old hairdressers. Each god had their name printed on the back of their coat - like boxers. Displayed on the walls were details of each character - telling us about them as gods and then relating them to a more contemporary [fallen?] hero. Each character was wrapped up in their own revelry -occasionally interacting with each other and implicating the audience equally in the excesses. Feeding each other alcohol and ambrosia, screaming, crying, bawling - sometimes one of them would try to take you aside and get you involved in their particular brand of madness. All of this was accompanied by a backdrop pf music making, and digital visuals being beamed onto the walls - a bombardment of the senses was completed by the stench of rotting textiles. At first our happy band of live art revellers seemed to enjoy the experience - laughing at the 'performers' commenting on the repetitive nature of their ramblings. Then everyone was herded upstairs into a small space - where the gods became even more exaggerated in their behaviours - almost egged on by their captive audience. At this stage a number of people left, feeling it was too much. I think we were in the Hairdressers for less than an hour, but time stood still in that time. We were voyeurs in a crazy world, but unable to remain passive - as the performers demanded a reaction. This was the species of vagabond that is found in cities - no social inhibitions remain, they demand attention, food, wine, whatever.
Conjunction 12 took place in the midst of the Financial Crash and the city of Stoke was hit harder than most. This air of financial uncertainty was represented in the festival's theme – The Art of Survival, as artists sought to respond to the natural world, the economy, and the artworld, considering the role of conservation, recognition of resources and grass-roots activity in creating future sustainability. The festival's main partners and venues were joined this time by two local independent public houses, whose parent industry is well familiar with ideas of survival in an age of austerity and the local city Park – Hanley Park, which had degenerated to a point where its reputation as a safe family friendly had all but disappeared and its supporters were desperate for ways for it to transform its fortunes.
http://conjunction.org.uk/
A Memory -
Doyle and Mallinson's Neo Dawsonian Archive - wickedly funny set of interventions in to the Potteries Museum and Art Gallery's collection, challenging notions of institutional authority.
Over 6 years and 3 Biennial festivals of contemporary visual art, Conjunction has worked with, exhibited and provided support and opportunities for well over 200 local, national and international artists, across more than a dozen of the city's venues. The cultural landscape of Stoke on Trent has changed significantly in that time, from a sense of fragmentation and isolated activity, to one where each of the city's major cultural players recognises the presence and role of each other, as well as the importance of smaller active groups and individuals, with an increased sense of organisational support for the benefit of the city as a whole. Conjunction can't claim to be the sole reason behind this change, but it can claim to have played a significant part.
The AirSpace Team – Andrew Branscombe, Anna Francis and Glen Stoker - would like to say a particular thanks to all the contributing artists, too numerous to mention individually, and to the following, without whose help it would have not been possible.
David Bethell
Stoke-on-Trent City Council
Ian Vines and the Potteries Museum and Art Gallery,
Catherine Fehily, Mark Webster and Staffordshire University,
John Booth and the Friends of Bethesda Chapel,
Jason & Sallie Keenan at the Glebe Hotel
Steve Yeo at The Exchange,
Pauline Withington, Tom Pine and The Friends of Hanley Park
Phil Rawle, Sara Austin, Ian Brown, Katie Shipley and all of the invaluable volunteers.
Posted by renton at 14:53 1 comment:
Manifesto #2 by Jane Lawson
To mark the closing of the recent AirSpace exhibition, PIGDOGANDMONKEYFESTOS, we held an event in the Gallery's green space - the Bird Yarden. The event - YARDENFEST - celebrated outdoor activism, and as part of a packed day, we put out a call for artworks that responded to both the Yarden and the manifesto format that had been so eclectically covered in PIGDOG.
One of those was Manifesto #2 - the work of Manchester-based artist, Jane Lawson (http://www.janelawson.co.uk/). The work sees a copy of Friedrich Hayek's key neoliberal text The Road to Serfdom inoculated with oyster mushroom spawn, where the fungus is used to to signify a detoxification of the global financial system;
Jane says,
"oyster mushrooms can detoxify a wide range of substances including hydrocarbons, making them an ideal candidate for tackling an economic system built on the cheap energy provided by fossil fuels."
On delivery and installation, the work looked simply like a well thumbed paperback, as Jane slightly sank it into the soft earth of one of the Yarden's plant beds. Over the last 2 weeks, however, these little pink caps started to splurge from the pages offering a sense of growth and optimism from the midsts of an ideology which many believe to be the root of the modern world's ills.
Jane describes the the impact of Hayek -
The Road to Serfdom was written in the early 1940s and warned that government control of economic decision-making through central planning would lead inevitably to tyranny. In 1947 Hayek and Milton Friedman, among others, set up the Mont Pelerin Society which played a significant part in developing and promoting the neoliberal economic orthodoxy that has given us our current highly unequal and exploitative financial system. Hayek and Friedman's ideas played a critical part in Margaret Thatcher's determination to "roll back the state" and in the deregulation of the financial markets that paved the way for the 2008 financial crisis and subsequent bank bailout.
It's interesting that the Oyster Mushroom was cultivated in Germany as a subsistence measure during World War I and today is a recognisable global foodstuff, lending a certain resonance to the work when considering the recent statistics from the US and UK - two countries in the top 5 richest in the world, both of whom have a significant neoliberal economic past - regarding poverty levels and emergence of social welfare food banks.
Finally, for Jane,
Manifesto #2 embodies the unpredictability of trying to harness natural processes to human agendas; whether the book actually goes on to produce a tasty crop of mushrooms will be dependent on the weather and on competing organisms such as green mould. It also represents the longevity of natural processes versus human systems; capitalism, although currently culturally presented to us as the only feasible economic system, is historically recent and globally anomalous, while fungi have been around for at least 1,000 million years and will almost certainly outlast us.
So, as well as looking forward to harvesting these pink mushrooms for dinner one night, it's really comforting to think that that in our busy lives, while we're otherwise concerned and thinking elsewhere, there's a patch of the AirSpace Bird Yarden which is tackling this divisive economic ideology.
Thanks Jane!
In The Window # 1 'Walden-note Money' by Austin Houldsworth
IN THE WINDOW#1
'Walden- note Money' by Austin Houldsworth
Thursday 12th June - Thursday 26th June, 2014
In The Window#1 is the first of a series of newly commission work for the 2014-2015 'In The Window' exhibition programme at AirSpace Gallery.
The AirSpace Gallery Window reaches a large daily audience and our market research has discovered that our Window exhibition program is very positively received. The In The Window programme offers artists at all stages of their careers a chance to test ambitious new work in an established gallery setting.
Commissioned artist Austin Houldworth's 'Walden Note-money' presents a prototype payment machine from an alternative monetary system. A monetary system designed within the cultural context of B.F. Skinners' Walden Two. The project imagines a payment system that challenges the established monetary function of 'a store of value.' Creating a new method of exchange that encourages people to actively destroy their money during a transaction. The process positively reinforces this behaviour through the creation of music, produced from the burning money within the transaction machine. During every transaction the seller is obliged to aid the buyer in the destruction of their money equal to the cost of the service or object he/she is purchasing. Through the destruction of money, musical notes are created which are linked to the coins denomination. For example a C is 1 Walden-note, a D is 2, an E is 3 and so on; these notes have two main functions. Firstly the pleasant sounds created help to positively reinforce this behaviour and secondly the burning money communicates the economic state of the society to the 'managers and planners'.
Walden-note Money is part of a 3 year research project, which focuses on the development of a new design methodology called counter-fictional design. It explores the artists current research focus of imagining and developing alternative monetary systems. The project is designed to challenge the classic economic functions of money and present alternatives.
The rationale for the work to be exhibited in this particular space, is to be seen by a wider audience; to be viewed by passers by who might not otherwise attend a private view or gallery opening, but might be interested in thinking about money in a different way. As ultimately money is a social technology, which should operate for the people who use it and not for a select few who manipulate it.
Austin is currently undertaking a PhD at the Royal College of Art. His work uses a design approach - without the market driven agenda most design practices focus upon. He employes design outside the context of the market place means the motivations of profit and money become a secondary concern - shifting the main focus towards social and cultural issues. The work he produces often incorporates a speculative element, with which the projects are intended to both critique the present state of affairs, but also suggest a practical and engaging alternative to the current status quo.
Austin has exhibited throughout the UK, London and France.
For more information and to see more works, visit Austin's website at www.austinhouldsworth.co.uk
Labels: in the window, news
YARDENFEST - The Micro Commissions
gar·den [gahr-dn]
1. a plot of ground, usually near a house, where flowers, shrubs, vegetables, fruits, or herbs arecultivated.
2. a piece of ground or other space, commonly with ornamental plants, trees, etc., used as a park orother public recreation area: a public garden.
3. a fertile and delightful spot or region.
4. British , yard2 ( def 1 ) .
yard [yahrd]
1. the ground that immediately adjoins or surrounds a house, public building, or other structure.
2. an enclosed area outdoors, often paved and surrounded by or adjacent to a building; court.
3. an outdoor enclosure designed for the exercise of students, inmates, etc.: a prison yard.
4. an outdoor space surrounded by a group of buildings, as on a college campus.
5. a pen or other enclosure for livestock.
YARDENFEST is the closing event for Shaun Doyle and Mally Mallinson's PIGDOGANDMONKEYFESTOS exhibition, currently showing at AirSpace Gallery. PIGDOG was originally conceived as a response to the curators' perceived dearth in manifesto writing in contemporary art or at least in what, historically, we consider a manifesto to be. Yardenfest continues the theme and responds in particular to themes of the possibilities for and viability of solutions to outdoor space.
Sited in the Gallery's Bird Yarden - a transformed Victorian Yard Space, YARDENFEST promises a day long social gathering and celebration full of activities, workshops, music and food.
As part of the event, from an open call, AirSpace has commissioned 5 artists/groups to make and permanently site a YARDENFESTO - or manifesto for the Yarden.
Responding to themes such as, but not limited to, -ecology/ eco systems, endangerment, intervention, gardening activism, DIY, reclaim-/re-cycle, sustainability and survival, community gardening environmental concerns, the future, protest, the 5 selected artists artworks are:
Martin Gooding
Milton Friedman, the father of free-market capitalism, spoke frequently on the power of the individual, promoting a greed-centric market designed only to profit the shareholder. This economic system is the backbone of modern western society. Free-market capitalism provided the perfect environment for the financial problems currently effecting modern Europe. It works on a system of self-regulation and economic freedom that is unheard of in everyday life.
"Corporate Growth" pits the uncontrollable power of capitalism against the unstoppable force of nature using moss as a medium, combining eco-friendly art techniques with traditional protest art.
Mr Friedman's many texts on capitalism have been condensed and brutally simplified into ten "rules" strongly influenced by the use of manifestos in mainstream and alternative politics. These rules illustrate the essence of the world inhabited by Friedman's natural heir, the bankers, and provide an insight into a world so self-interested that most viewers couldn't imagine following these rules on a day- to-day basis.
The demonic and haunting image of Mr. Friedman and his teachings, are slowly consumed by the anarchistic powers of nature, torn apart and destroyed by the unrelenting growth of the moss. Eventually there will be only moss, framed as a testament to the powers of nature.
The cut and paste aesthetic harks back to past anti-establishment movements such as the zine culture prevalent in the late seventies that provided a platform for the downtrodden and ignored. All materials are reclaimed or collected staying true to the artist's DIY ethos providing a new life to rotting and dead timber.
Martin Gooding - an abstract painter and collagist working and living in Stoke-On-Trent as well as a keen community and participatory artist working with the local community. Works are predominantly anti-capitalist and anti-fascist using strong political and religious imagery, working primarily using aged photocopiers and repeated layering and image destruction.
http://cargocollective.com/blastphemyl
Danijela Vunduk
SELF-CONTAINED STUDIO FLAT
The piece 'self-contained studio flat', comments on the difficulty of owning space in our overcrowded and out-priced cities. The 'flat' board and standing space serve as the smallest possible living space to support a human life and all its possessions. Surrounding the crime scene style androgynous shape is an investigative collage of the material bits and pieces that fill our homes, some not necessarily essential others we have come to regard as such.
The chaotic placement of found and recycled objects and images encroaching onto the inhabitant's personal space refer to the claustrophobia of modern life, the only empty space being the 'human shape'. The structure itself, formed out of reclaimed wood, is coffin-like and rigid. It draws uncomfortable parallels with ancient burial plots in which the deceased is surrounded by items used in life. If we de-cluttered our lives, loosened our material ties would we feel freer, less suffocated and stressed?
Not solely a criticism of city living as this installation also focuses on human ingenuity, our ability to adapt and find solutions to limited space. The standing space a pallet, referring to the design brilliance of shipping container homes. An object transformed from one use to another in a form of recycling and multi-function. Playing on the same ideas, 'Self-contained studio flat' comes complete with a vegetable garden beneath, fertilised by the occupant- during every shower among other things…
Danijela Vunduk is a props and costume designer/maker based in Birmingham.www.danijelavunduk.moonfruit.com
Jake Kent
KILL YOUR INNER COP
(Banner & Performance)
A squat in Amsterdam bears a banner that reads JULLIE WETTEN NIET DE
ONZE! – translated as YOUR LAWS NOT OURS. It rests above a stage where bands now play, however it was once at the front of a march against anti-squatting laws in The Netherlands.
In a house in Berlin there is a poster of Robert Mapplethorpe, that one with the machine gun, with added text – CHRISTIAN TAKEOVER? STRIKE
BACK! Next to this, another, featuring an image of a bulldog with a police hat and the words KILL YOUR INNER COP. This is not the only residence of these posters; they are pasted on the walls and street-objects of the city.
In a university building in Nottingham, there is a 6-metre banner with the same words KILL YOUR INNER COP. This is a work that was made with the aforementioned images in mind, along with others found on the various cultural pursuits I find myself engaged with. It also calls forward Foucault and his use of the panopticon as a "metaphor for modern "disciplinary" societies and their pervasive inclination to observe and normalise". To act upon this work is to undo a bind, one that is internal and often unnoticed. Like Adam Curtis said "There is a policeman in all of our heads: he must be destroyed".
To accompany the banner and using the phrase as an usher is a performance- cum-action. This consists of cycling in the city centre on a bike with a custom flag, commission for this event, inviting people to Yardenfest and handing out remaining PIGDOGANDMONKEYFESTOS newsprints like disseminating political propaganda.
Jake Kent is an artist based in Nottingham and co-runs Triple O.G. with John Harris.
http://www.jakekent.co.uk/
http://jakexkent.tumblr.com/
(h)edge keletiv
HIDE AND SEEK MICROCOSM MANIFESTOS
Is a collection of vivarium each taking inspiration from one of six, selected art manifestos of the 20th Century (Surrealist Manifesto, Situationist Manifesto, Cheap Art Manifesto, Fluxus Manifesto, Maintenance Art Manifesto, Stuckist Manifesto), in a 'Chelseaesque' themed garden exhibition. Each one is hidden amongst the flora and vegetation of the AirSpace Bird Yarden, which is itself a 'tiny' green refuge within the city- each vivarium waiting to be discovered and examined.
This intervention explores the notion of space within space and unexpected sanctuaries- both public and private, interior space- a space within, a sense of place and the landscape within a frame.
It plays with the idea of discovery; the magical wonder of encountering objects and texts that discreetly twists your expectations. To come across something you didn't realize was there, poses a question- what else is there to find? This decentering, this questioning leads to activation and to participation- it persuades the viewer to look – to see; it exposes an effect- the suspension of belief in things and places and the notion of potential and alternative possibilities.
This is our celebration and representation of manifestos. Coded declarations that encapsulate greater, wider, bigger ideas: manifestos fascinate us. They are poetic, anomalous and militant; written like streams of consciousness, directly from the heart to the hand. Their meanings have to be wrested from the shape of words: the artist intentions are grasped like a sense impression rather than through the sequential arrangements of the words.
They also critically delineate a position on the cultural map, rejecting normative values and approaches and asserting the role of artist as an activist. Our microcosms celebrate this defiance by symbolically locating representations of artist manifestos, in a space created to challenge the idea that humans cannot exist in harmony with the environment.
(h)edge kelektiv are a performative arts group with a specific interest in places, people and things that are on the verge. The work is in the trajectory of the situationalist movement and poetically tests theories through practice; using traditional skills, we interrogate paradoxical realism and narrative in contemporary environments and contexts.
Jane Lawson
MANIFESTO #2
Manifesto #2 is the second in a series of manifestos inspired by Pigdogandmonkeyfestos. It also part of a larger body of work which I started in 2012 with Bioremediation I, in which I detoxified the global financial system (in the form of twelve portraits representing institutions such as ratings agencies, governments and banks) with oyster mushrooms, and exhibited the resulting oil painting/fungus ecosystem alongside a timeline showing the development of the financial system since the evolution of homo sapiens. Oyster mushrooms can detoxify a wide range of substances, including hydrocarbons, making them an ideal candidate to detoxify an economic system built on the cheap energy provided by burning fossil fuels, with the attendant disastrous consequences for our climate and ecosystem.
Manifesto #2 is a copy of The Road to Serfdom inoculated with pink oyster mushroom spawn; by the time of Yardenfest it should have been thorougly colonised with mycelium. Beyond this, there are no guarantees; pink oyster mushrooms prefer warm temperatures, so what happens next will be down to the glorious British summer. To maximise the chances of a healthy crop, I have supply sawdust inoculated with brown oyster mushroom spawn – this takes longer to fruit, but can tolerate lower temperatures
One of the ideas Manifesto #2 presents is the longevity of natural systems versus human systems; capitalism, although currently culturally presented to us as the only feasible economic system, is historically recent and globally anomalous, while fungi have been around for at least 1,000 million years and will almost certainly outlast us. Manifesto #2 also illustrates uncertainty and the unpredictability of trying to harness natural processes to humanb agendas.
The book itself will degrade over time, feeding the surrounding micro-organisms and plants
Jane Lawson is an artist based in Manchester working to make visual sense of the complex processes and systems underpinning human existence and seeking to embody alternatives to the dominant cultural narrative which claims that the present economic system, although flawed, is our only realistic option.
http://www.janelawson.co.uk/
In The Window # 1 'Walden-note Money' by Austin Ho...


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L'Artothèque – Benefit Auction – 30 January to 14 February, 2023 (2:00 PM EST)
Online auction Catalogue
Catalogued Auctions
BYDealers – Important Canadian Art – 5 to 27 November, 2022 (2:00 PM EST)
BYDealers - Post-War & Contemporary Art - 11 to 29 May, 2022 (2PM EDT)
BYDealers – Post-War & Contemporary Art – 6 to 28 Nov. 2021, 2PM
BYDealers – Historical and Post-War Canadian Art - 8 to 30 May, 2021, 2PM
BYDealers - Historical and Post-War Canadian Art - 2 to 22 NOV 2020 2PM
Post-war and Contemporary - Spring 2020
Post-War and Contemporary – November 10th, 2019
Post-war and Contemporary – May 26th 2019
Post-war and Contemporary - November 5th 2018
Canadian Art Sale - May 31st, 2018
BYDealers – November Online Auction – 21 November to 6 December, 2022 (2:00 PM)
BYDealers – October Online Auction – 3 to 18 October 2022, 2PM (EDT)
BYDealers – May Online Auction - 29 May to 7 June 2022 2PM
BYDealers – May Online Auction – 23 May to 7 June 2022, 2PM
BYDealers – March Online Auction – 28 February to 15 March, 2022, 2:00PM
BYDealers – November Online Auction – 22 November to 7 December 2021, 2PM
BYDealers – International Art Online Auction – 3 to 17 June, 2021, 2PM
BYDealers – May & June Online Auction – 27 May to 15 June 2021, 2PM
BYDealers – November Online Auction – 19 November to 3 December, 2020, 2PM
Summer Online Auction – JUNE 25 to JULY 9, 2PM
October Online Auction – 30 OCT to 13 NOV 2PM
May Online Auction – 15 to 29 MAY 2PM
February Online Auction – 7 to 21 FEB 2PM
October Online Auction - 24 OCT to 7 NOV 2PM
Wine Auctions
BYDealers – Prestige Wine Auction – November 17 to December 1st, 2022 (7:00 PM EST)
Emergo Foundation for Autism Benefit Auction: Of Wine & Passion – 27 June to 12 July, 2022
BYDealers – Prestige Wine Auction – 21 April to 19 May, 2022, 7PM
BYDealers – Prestige Wine Auction – 25 November to 9 December, 2021, 2PM
Emergo Foundation for Autism: Important Wines Sale – 25 June to 8 July, 2021, 2PM
Partnered Auctions
Festival International du Film sur l'Art (FIFA) – Benefit Auction – 24 November to 11 December, 2022 (8:00 PM EST)
Éditions Esse – Benefit Auction – 10 to 20 November, 2022, 7PM (EST)
Oeno Gallery – Online Auction – 24 Oct. to 8 Nov., 2022 (2:00PM EST)
CHUS Foundation – Benefit Auction – 13 to 27 October, 2022 (8:00 PM EDT)
Galerie Alexandre Motulsky-Falardeau – Online Auction – 26 September to 11 October, 2022 (2PM EST)
Galerie Claude Lafitte – Online Auction – 19 September to 4 October, 2022 (2PM EDT)
Art/Shift – Online Auction – 12 to 27 September, 2022 (2:00 PM EDT)
Galerie Cazeault — Canadian Art – 29 June to 14 July, 2022
Emergo Foundation for Autism Benefit Auction: Artworks from the Simon Blais Collection – 27 June to 12 July, 2022
Galerie Simon Blais – Window on Time – 25 April to 10 May, 2022, 2PM
Galerie Claude Lafitte – Perspectives /4 – 18 April to 3 May, 2022 (2PM EDT)
Art/Shift – Online Auction – 11 to 26 April 2022 (2:00 PM EDT)
Oeno Gallery – Spring 2022 Online Auction – 4 - 19 April, 2PM
Galerie Alexandre Motulsky-Falardeau – Panorama / Winter 2022 – 24 January to 8 February, 2022 (2PM EST)
Artshift – Online Auction – 6 to 16 December, 2021, 2PM EST
Festival International du Film sur l'Art (FIFA) – Benefit Auction – 18 November to 5 December, 2021, 8PM
Out of Our Reserves — Works From Galerie Simon Blais — 18 Oct. to 2 Nov, 2021, 2PM
Les éditions Esse Benefit Auction – 14 to 28 October, 2021, 7 pm
Lacerte art contemporain – Online Auction – 20 September to 5 October 2021, 2PM
Art/Shift – Online Auction – 13 to 28 September, 2021, 2PM EDT
Galerie Alexandre Motulsky-Falardeau – Online Auction – 6 to 21 September 2021, 2PM
Galerie Claude Lafitte – Perspectives /3 – 30 August to 14 September, 2021 (2PM EDT)
Emergo Foundation for Autism: Artworks from the Simon Blais Collection – 15 to 29 June 2021, 2PM
Miriam Shiell Fine Art – Collector's Choice: International Art – 2 to 22 June, 2021, 2PM
Miriam Shiell Fine Art – Collector's Choice: Canadian Contemporary Art – 2 to 22 June, 2021, 2PM
Galerie Claude Lafitte – Perspectives /2 – 12 to 27 April 2021, 2PM
Art/Shift – Online Auction – 15 to 30 March, 2021, 2PM
MAKIZART – Comic Book – 1 to 16 MAR 2021 2PM
Galerie AMF – Online Auction – 25 JAN to 9 FEB 2021, 2PM
Galerie Cazeault – Art & Books – 4 to 15 December, 2020, 2PM
Art/Shift – Online Auction – 30 November to 14 December, 2020, 2PM
Festival International du Film sur l'Art (FIFA) – Benefit Auction – 23 November to 6 December, 2020, 2PM
Oeno Gallery – Fall 2020 Auction: Session No.2 – 24 November to 8 December, 2020, 2PM
Oeno Gallery – Fall 2020 Auction: Session No.1: 21 SEPTEMBER to 6 OCTOBER, 2020, 2PM
Lacerte art contemporain – A Glimpse of Fall - 9 to 24 November 2020, 2PM
Galerie Cazeault - Panorama - 14 to 29 SEP 2PM
Galerie AMF – Three Centuries In A Glimpse – 31 AUG to 15 SEPT 2020, 2PM
Oeno Gallery – Historical Canadian Art – 15 JUNE to 7 JULY 2PM
Galerie d'art Vincent - Inuit Art: A Celebration - 9 to 24 JUNE 2PM
Yves Laroche Galerie d'art - Street Art Online Auction - 5 to 19 JUNE 2PM
Evelyn Aimis Fine Art - Collector's Choice: International & Canadian - 4 to 23 JUNE 2PM
Lacerte art contemporain - A Glimpse of Spring - 2 to 15 JUNE 2PM
Miriam Shiell Fine Art – Collector's Choice: Canadian Art – 1 to 16 JUNE 2PM
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Oeno Gallery - Works on Paper & Photography
Miriam Shiell Fine Art - Collector's Choice: European & Modern - 4 to 19 MAY 2PM
Oeno Gallery - Abstract Painting & Sculpture - 27 APR to 12 MAY 4PM
Oeno Gallery - Landscape & Figurative Canadian Artwork - 14 - 28 APR 4PM
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Where is BBC One's The Repair Shop filmed?
Elizabeth AtkinSunday 3 Jan 2021 6:10 pm
The Repair Shop airs on BBC One, with reruns on Quest – and has been winning viewers and hearts since 2017.
But where is the actual Repair Shop featured in the show? And where do restoration experts such as Suzie Fletcher and Will Kirk – plus beloved host Jay Blades – meet to film the series?
Here's everything you need to know about The Repair Shop's filming locations…
Where is The Repair Shop filmed?
Weald and Downland Living Museum, in Singleton, Chichester, Sussex (Picture: Getty)
There's only one key filming location for The Repair Shop – a museum in Sussex.
Episodes are recorded in the Court Barn at the Weald and Downland Living Museum in Singleton, West Sussex.
Singleton is a charming village in the Lavant Valley. It's in the district of Chichester, and is just a short five or so miles from the city of Chichester.
Singleton's open air museum has been running since 1970, and has been used as the show's main filming location since it began in 2017.
It's usually open to the public for visits – the Court Barn accessible for fans of the series to mosey around.
However, due to tier four lockdown rules, currently visitors can only access the museum's 40-acre grounds. The Barn will reopen again when restrictions ease.
Keep an eye on the museum's official website for further information.
When and where can I watch The Repair Shop?
Though you can't visit The Repair Shop itself right now, you can still watch it on TV.
Various episodes of The Repair Shop airs on BBC One at 8pm on Wednesdays from January 6.
Episodes are also repeated on Fridays at 8am on BBC Two. The exact upcoming episodes are displayed on the BBC website.
On Freeview channel Quest, older episodes of The Repair Shop can be watched at various times throughout the week – with a binge-worthy 6am to 2pm binge available most Sundays.
You can check out Quest's 7-day TV schedule here.
The Repair Shop will next air BBC Two on Sunday, January 3 at 6.15pm.
MORE : The Repair Shop: Parents desperate to restore late daughter's poignant toy after she died of cancer aged seven
MORE : The Repair Shop's Will Kirk reveals he was forced to cancel wedding due to coronavirus as he's branded show 'heartthrob'
Death In Bollywood uncovers dark side of industry as Jiah Khan 'targeted by predators'
Is The Serpent based on a true story - who is Charles Sobhraj?
Katie Price's new BBC documentary Harvey and Me: Everything you need to know
BBC defends putting 'discriminatory language' warning on The Royle Family
Dancing on Ice 2021: Denise Van Outen appears on launch show after being rushed to hospital


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Home | Newsletter Table of Contents | Previous Page of Newsletter |
TAE IN AUSTRALIA
By Nada Lou, Coordinator, Montreal, Canada
Nada can be reached at: www.nadalou.com, nadalou@nadalou.com, 450-692-9339
In previous yearly visits to Australia, I shared my excitement about developing the philosophical practice "Thinking at the Edge" (TAE). This prepared the ground for the first official TAE workshop in Sydney in March 2004. It was a delightful exploration of the first phase of TAE that could be named "Breaking the Language Barrier."
The three day event was held in the beautiful historic building of Sancta Sophia College. Heavy warm rain outside provided for us an inner atmosphere of time and space. There was a rich variety of people: writers, a yoga teacher, a business man, an architect, therapists, a "parent," a "husband." Numbers were balanced between experienced Focusers and relatively new ones.
Excitement became palpable when people detected a knowing that had value, but they did not have words to say it yet. Enthusiasm intensified as I encouraged them to notice that their sense had more to reveal. TAE steps provide a stirring at the edge that can take people deeper within their generative potential. An energy for social/political transformation often comes.
Participants worked with topics such as teaching university students from the teacher's felt sense and teaching to the student's felt sense; parenting patterns; making space in a busy life for "just being"; creative writing; advertising an architect's new company; what a father's love is all about .
The ability to recognize and trust the felt sense is a must because TAE is a conversation between the felt sense and thinking. I was very encouraged to find that one does not need to be a long-time trained Focuser to be able to do TAE. In fact, long time Focusers had, at first, a harder time! They had to use their abilities for felt sensing in a different way. However, once they opened up to the generative mutability of the felt sense, they were able to go into a deeper, more meaningful process.
Comments from Workshop Participants:
"TAE opened a way of working with words to find 'just the right way of saying something.' I have used the skills I learned immediately. I wrote a tribute about a friend and was able to put my 'felt sense' about that person into words that represented her in 'just the right way.' I used the TAE skills again in putting forward a proposal within one of my work groups." — Andrea Pelletier, Focusing Trainer
"I now think of the act of 'knowing' in a completely new way. Not like, 'I've learned a lot, and read a lot, therefore I know a lot, and can say a lot.' Rather, that I have areas of experience and expertise in me, and I can touch into them in a Focusing way, and then, using the steps of TAE, I can purposefully tease and draw out what's implicit. And what will come will be new and rich and far more comprehensive than the head knowing alone, because it comes from this inner knowing that is the felt sense of all that I know in a bodily way." — Chris Brouggy, Trainee
An Example: Engaging Creative processes
Tereza Crvenkovic is a yoga teacher and is working on her dissertation towards a Masters of Philosophy. She has a special interest in the phenomenology of dance and other aspects of performance. Tereza is a Focusing Trainer and a Coordinator in training.
"What initially started as a vague knowing developed into a whole new way of saying how I engage in creative processes and how to engage the creativity of others. I worked on the idea I have for a Focusing workbook. The initial sentence that came out of the felt sense in Step One was, 'The workbook will create a shift in perspective and a new paradigm for me and for others.' The word that stood out the most in this sentence was 'create.'
Step Three, 'No words fit,' was for me the most 'meaty' part of TAE. The three words that I chose to work on from my initial sentence were 'create,' 'new' and 'perspective.' Not only did I gain insight into the glaring discrepancies that exist between the public and private meanings of words, I found the overall exercise to be a lot of fun. For each of these words, I found seven or eight of my own personal meanings. For example, the dictionary definition for 'create' is 'to make happen or exist,' 'to produce a particular feeling or impression.' This says nothing about the way I experience 'create'! Amongst other meanings, 'create' has a 'melt in the mouth quality like chocolate', 'bringing together and making whole,' 'being in present time,' 'giving presence to what is known but unsaid,' 'giving form to the formless.'
"Step Four, 'All the words fit,' was where something started to 'come together.' As I allowed the word 'create' to speak from my felt sense, an image of a whirlpool emerged. There was a sense that this whirlpool is always there waiting for me to 'go inside.' What came out of this was a sense of willingly stepping into the whirlpool when I'm being creative and willingly stepping out when I'm done. The most important piece here was my willingness to step into this state, and to allow a collaborative interaction to take place with what is already always there. Ultimately, a spiritual dimension emerged out of this when I realised that because the whirlpool is always already there, and outside of me, it has a life of its own and the ability to provide the 'gift of creation.' But I won't receive the gift until I collaborate with what is always already there."
Another example: Inspiring excellence
Graham Barr manages a team of analysts who study market conditions and developing trends in the telecommunications industry in Australia and around the world. He is working on a project to try to raise the standard of work in the team--starting from what is already good--and from there to attain excellence in all they do.
His original sentence in Step One was, "I know something about how to inspire people to want to excel through their own abilities, overcoming current perceived limitations, cynicism and recent background."
In Step Three he generated new phrases for the words, "inspire," "want" and "limitations." From this evolved some further next sentences to say what he meant:
"To inspire people to lust for personal excellence, despite constraining beliefs."
"To inspire people to passionately strive for personalised excellence."
In Step Four further phrases and sentences were generated out of his sense of what he wanted his words to mean. This led to a new saying of his knowing: "My own confidence and enthusiasm is what leads others to passionately strive for personalised excellence." (Notice how the word "inspire" shifted in meaning. It started as a desire to do the "inspiring" to other people, and then moved into being/coming from an "inspired ground in himself." )
TAE Partnerships
It is important to explain the difference between TAE partnership and Focusing partnership. TAE partnerships are a lot more collaborative, but still non-intrusive. Some practice is needed to help long time Focusers loosen up into collaboration, and newer Focusers to know the difference between collaboration and interference.
Using the DVD "TAE in 14 Steps" as a teacher
" I wanted to tell you is how good this TAE DVD is. The structure is brilliant: first the general explanation, then the instructions, then the detailed case example, and all the comments on the same point gathered at the same place. This really works for me, and I am sure for a lot of people. It made me not only see but integrate each point! I did my own process as I watched step by step. It is a workshop on its own!" — Brigitte Jandey
I am optimistic that TAE has taken a healthy root in Australia. Partnerships have formed. I will continue to coach and teach by phone and on future visits. I am continuously energized and excited seeing how this process has an effect on people. When people use TAE steps to tap into what was previously experienced only as an interesting personal signal, they engage in a remarkable generative process.
Newsletter Table of Contents | Previous Page of Newsletter |
This page was last modified on 09 March 2005


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The word feral appears at the end of it.
Cara delevingne just debuted a huge new tattoo. How many tattoos does cara delevingne have and what do they mean? The image is real, the only modification i make is to erase the tattoo on the sole of the foot. The model and actor displayed the new ink—a snake which starts at the edge of her palm and wraps around to her middle finger—at an.
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Opening act Jon Allen is a folk influenced singer-songwriter and not what you'd expect at a Blues concert; but he was very amiable and quite a few of his songs were well received by an enthusiastic audience.
Allen was charm personified as he introduced his songs and his voice and even mannerisms, to some degree reminded me of Ralph McTell, which is no bad thing in my book.
A couple of song; in particular, Joanna and the deeply personal (Living) In Your Light meant that there was a long queue to buy his CD at the interval.
Shows at Sage Gateshead run with military precision and on the stroke of 8.30 the house lights dimmed and a deep, booming voice introduced Robert Cray, who scampered through the shadows to take his place in front of a very minimal set of speakers, drums and two keyboards.
With no introduction the band slid seamlessly into Shiver All Over; which is exactly the effect Robert Cray's classy style of guitar playing has on his fans (and me).
The guitarist has an effortless way about him; and he doesn't go in for all of the histrionics that seem popular these days, but when he plays a note, it stays played.
Most people in the audience had come to hear his guitar playing but Cray's instantly recognizable voice is certainly worth mentioning as it is as smooth and as sweet as the Blues he plays; and it hardly sounds anymore road worn than when I first saw him at Newcastle City Hall 21 years ago.
Of the songs he played from his latest album NOTHING BUT LOVE; Side Dish absolutely sizzled and Bobby Parker Jr's Blues Get Off My Shoulder sounded as mournful as it was soulful and was one of the highlights of a wonderful concert.
As I said there were a handful of aged speakers in front of the drum riser, but every nuance of the sound the band created could be heard with crystal clarity.
All night long songs were slipped in from a career that spans over thirty years and his signature tunes, Right Next Door, Strong Persuader and Smoking Gun all sounded as fresh tonight as when he first recorded them; but the risqué Back Door Slam andChicken in the Kitchen sounded so good, they could have been written yesterday.
One song I wasn't familiar with, Move A Mountain from the 1990 album MIDNIGHT STROLL took my breath away in it's simplicity while Cray sang the lyrics as if his life depended on it.
Somehow or other I must have missed Worry when I listened to the new album; because tonight it managed to soar out of the speakers and punch me in the mouth. The subject matter, his girlfriend walks the streets is a bit odd; but the song is the Blues par excellence and certainly deserves closer attention when I get home.
As the band came back on stage for a well deserved encore I was left wondering what was left in the bag; but two more songs from the latest album had me weak at the knees; A Memo was simply outstanding and the anthemic social commentary,I'm Done Crying, which closed the show, was as good as the Blues ever gets.
Robert Cray has probably made a good living from the Blues, but for me has never got the credit his playing and songwriting deserves. Perhaps he's just been in the business at the wrong time with the Rockier end of the Blues being in the ascendancy, but he really is the real deal and is best appreciated when playing on stage.
Damn right I've got the Blues!
www.harrisonaphotos.co.uk
Robert Cray interview – http://www.mixcloud.com/JumpingHotClubRadio/jhc-radio-show-episode-35-blues-hour-with-an-exclusive-robert-cray-interview/


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Faith needs an avenue of expression to produce substance. One of my greatest faults is always looking at my need and my lack, rather than my supply and provision. That is a fault of being naturally minded. When I set my eyes on the Word of God, what I see is Philippians 4:19, "But my God shall supply all your need according to his riches in glory by Christ Jesus." Is this always going to happen according to your natural understanding? Quite often it doesn't happen in the way we think. But God has given us spiritual principles that promise us prosperity, provision and blessing. The first of these precepts and principles is not having any other gods before Him. He wants us sold out to Him. He wants our obedience and He wants our trust. When we were kids, we didn't get everything that we ever wanted, when we wanted and as much as we wanted. If we did, we probably were pretty self-centered, spoiled brats. While God has everything and every resource at His disposal, He loves us enough to train us and mature us in what He has to give us. He is teaching us to operate out of principles of faith that count Him faithful before we ever see the manifestation of His faithfulness. We tend to have a very short memory. So many times and even now in the blessing and prosperity so many of us enjoy, we forget where all that we have even came from and why we enjoy the freedom and the blessings that we have. We soon begin to think that somehow we are the ones responsible for our blessings. Generally we fail to really appreciate all of the blessings that we already have because we are so focused on what we don't have.
In the above scripture God is teaching us a principle that reaping a harvest of blessing requires the planting of a seed of faithfulness. In this case it is the tithe, which was considered the ten- percent of one's earnings. While a farmer may eat or sell a majority of his crop, if he doesn't set aside seed to plant, His harvests will cease and his food supply will dry up. The same principle holds true spiritually. We plant our substance back into the kingdom of God, which produces for us not only a spiritual harvest, but a natural harvest as well. When we fail to tithe in this way we not only rob God, we rob ourselves of His blessing and provision that comes through this act of obedience. A lot of people get very protective and defensive about tithing. The truth is, tithing is first a condition of the heart, before it is a condition of the pocketbook. God doesn't want what is not in our hearts to give. Giving to Him is a physical act of spiritual worship. Would we give to Him that which cost us nothing? When we give, it is in effect an act of thanksgiving and acknowledgement for that which He has supplied us with. We are all just stewards and servants. God places things in our hands, rather it be talents, gifts, abilities, or finances. As faithful stewards to Him we have the responsibility of giving a portion of those blessings back to Him and investing them in the Kingdom that they may produce an increase to the glory of God and the increase of His Kingdom.
What we have is not always seen in what we outwardly possess. What we possess is a God that is more than enough for all our needs. There may well be times that the world around us seems to prosper much more than we are. Read Psalms 73 to see David's perspective when he envied the foolish and the wicked that prospered. The Word speaks to us in Psalms 9:10, "And they that know thy name will put their trust in thee: for thou, LORD, hast not forsaken them that seek thee." God is faithfully loving us and dealing with us as sons and daughter according to the conditions of our heart. While everything around you in the natural may be testifying contrary to what the Word of God is speaking to you, Trust God. Stay obedient and faithful to the precepts and principles of His Word. It is not about what we see, taste, touch or feel; it is about the truth and faithfullness of God as we stand on the promises of His Word. He is our portion and our blessing and He is more than enough.
We are all about our rights and life is so much about us, but this simple scripture should put it all in perspective from God's point of view. It is all about lives in service to the King of Kings and consequently in service to one another. The members of my body aren't concerned about which gets the most attention or is most favored, but they are concerned about which one is suffering the most. The members of my body exist to work together in unity for the good of the whole and not the individual part. Doesn't God want us to work together the same way in our marriages, families and relationships with the body of Christ? We have one Head and none of us are it, so we need to be about the cause of Christ for the unity and wholeness of His body and not our individual agendas and dogmas. God has an order of authority and all authority under Him should have His will and purpose foremost in mind. The exercise of submission is an exercise of love. His Love, expressing itself through us in righteousness, is what we live for.
We hear it said, "the eye is the window of the soul." Jesus is saying something similar to this in this passage. The soul is made up of the mind, will and emotions. The eye really represents the input to what we are feeding into our soul. Someone could be physically blind and actually have more light in their body than someone who has all of their faculties. In John 9:39-41 Jesus has a conversation with the Pharisees after healing a blind man and remarks to them,"…For judgment I am come into this world, that they which see not might see; and that they which see might be made blind. And [some] of the Pharisees which were with him heard these words, and said unto him, Are we blind also? Jesus said unto them, If ye were blind, ye should have no sin: but now ye say, We see; therefore your sin remaineth." Our spiritual sight comes by way of the Spirit of God. The Holy Spirit is what quickens the Word of the Lord to us and makes it light and life. We become accountable for the knowledge and light that we have. With what Jesus is saying to the Pharisees it is plain to see that just because they had the knowledge of the Word of God they didn't necessarily have enlightenment and understanding. How many are deceived today because they think if they know something about God that saves them or puts them in right position spiritually? Jesus is saying to the Pharisees, if you were ignorant of the Word of God that would be one thing, but because you think you know the truth and because of your knowledge, your sin remains. Knowing the truth is not necessarily living in the truth.
In order for us to have light it must come to us through the eyes of spiritual insight. That brings with it not just knowledge and legalism, which is the state we see the people of Jesus' day in, but it comes through the Word that is quickened by the Holy Spirit who gives life and understanding to our knowledge. Rather than a head thing, it becomes a heart thing. Paul says in 2 Corinthians 3:6, "Who also hath made us able ministers of the new testament; not of the letter, but of the spirit: for the letter killeth, but the spirit giveth life." The law simply written on pages and administered by men simply becomes legalism, condemnation and death. The law written upon our hearts by a life changing Spirit becomes to us and those around us, life, liberty and light.
Jesus likens our light as unto a candle set upon a lampstand. If we have a candle alone, like the Word without the Spirit, we have no light. If we have a flame with no candle we may well have a fire out of control. But if we have a candle lit with a flame we have a union that creates balance and produces light. We are the lampstands that are to carry that light with singleness of purpose. Our purpose is to be the outshining of His light and the truth of His Word through lives that are lived in the luminance of the light which He brings to us who are of a single eye and a single mind.
"But we have this treasure in earthen vessels, that the excellency of the power may be of God, and not of us. [We are] troubled on every side, yet not distressed; [we are] perplexed, but not in despair; Persecuted, but not forsaken; cast down, but not destroyed; Always bearing about in the body the dying of the Lord Jesus, that the life also of Jesus might be made manifest in our body. For we which live are always delivered unto death for Jesus' sake, that the life also of Jesus might be made manifest in our mortal flesh. So then death worketh in us, but life in you".
We, who are in Christ, are like the alabaster box that contains the precious ointment and perfume of the Life of Christ in us. We may look pretty sitting on the shelf, but our value is not in the outward container, it is in the contents within. We are like the man in Matthew 13:45-46: "Again, the kingdom of heaven is like unto a merchant man, seeking goodly pearls: Who, when he had found one pearl of great price, went and sold all that he had, and bought it." When we have found the treasure of heaven, the Christ, our Savior and Redeemer, then next to Him, all else becomes worthless and of little value. We are willing to forsake all to follow Him, to know Him and to possess His divine Life. How wonderful! We are all these earthen vessels that contain this treasure within them, but how does that make a difference to the world around us? Like Mary with the alabaster box, she broke the box to release the treasure of the fragrance within.
Paul is explaining much of the same principle that was at work in their lives. There is no strength or power in the vessel itself. The power and life is only released in weakness, brokenness and total God reliance. Our world and circumstances, life in general, often has a way of crushing and breaking us. 1Peter 4:12 says, "Beloved, think it not strange concerning the fiery trial which is to try you, as though some strange thing happened unto you:" This is common and to be expected, especially among believers. The true fragrance and essence of our life within is released most often in the place of suffering. The fact is, it is the treasure within that sustains us, not with natural strength, but with divine and supernatural strength. The enemy of our souls would crush us and destroy us, but in doing so he is only releasing the fragrance of the Christ in us.
Perhaps this sheds some insight into why we must suffer in life. In those places of weakness and utter helplessness we find a strength and life not our own. We are driven out of our self-reliance into trust and faith in our God. He becomes then our life, our health, our supply, and our comfort. As death works in our mortal bodies, it is only to give place to the life of Christ.
The even greater truth of this is that it works to a multiplication of His life in others through us. Even as Jesus, being one man, through His death on the cross brought a multiplication of His Life to the world. The harvest isn't in the seed, it is in the seed dying to the outer shell and releasing the life within that grows up to produce multiple seed. It is the principle of John 12:24-25: "Verily, verily, I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit. He that loveth his life shall lose it; and he that hateth his life in this world shall keep it unto life eternal." The experiences that we go through in life are serving to develop us in faith, character and maturity in our walk with the Lord. This, in turn, translates into our being poured out for others to minister life, encouragement and builds the faith of others to walk through their trials and testings in life. The death of the cross works in us so that it might work for Life in others.
Don't be discouraged if your vessel is being broken and you are being poured out on the altar of sacrifice. You are becoming the sweet fragrance of Life to others. It is the way of the cross that leads Home.
Behold, the LORD thy God hath set the land before thee: go up [and] possess [it], as the LORD God of thy fathers hath said unto thee; fear not, neither be discouraged.
How are you doing today as you run the race of faith? Are you running with the wind in your sails or are you just floating like a sailboat without a breeze? Are you encouraged and built up in your faith or are you tired, weary and feeling defeated? Where are you at in your relationship with Christ today? Perhaps you are where you want to be and growing daily in your faith and obedience to Christ. That is where we would all like to be, but in reality you may be floundering, experiencing some failures and defeats or dealing with issues that you don't have the answers for.
Hopefully, what we have learned so far is that our relationship with the Father, along with His love and desire towards us, doesn't ride on the coattails of our emotional ups and downs. It isn't our feelings that dictate our walk and relationship with the Father; it is our faith and confidence in His Word. The Father is constant in His love for us, even when we fall flat on our face or back into sin. The wonderful thing about the Lord is even though he loves us the way we are; He loves us too much to leave us that away. There are times we hate ourselves; all we can see is the failure, the weakness, the sin and how helpless we feel to change it. What we do know is that all of our self-pity and defeatism will never allow our life to change. The enemy has us right where he wants us, in the throes of defeat. Perhaps you have been experiencing the dealings of the Lord in your life and His discipline has been upon you. That should be an encouragement to you, because you know He is dealing with you as His son or His daughter. Don't allow discouragement to come in and cause you to give up. There will be times of discouragement where you are tempted to want to give up.
If the enemy has you in the dungeon of despair and discouragement today, sucking rocks and the putrid filth of his accusations and condemnations, then it is time to lift up your head and look to where your salvation comes from. It is time to get up and walk out of that prison cell. Those bars can't hold you. Jesus has already unlocked the door. He has never stopped loving you and all He is waiting for and desiring is for you to come back to Him. Make the Lord your refuge, your mighty fortress and your strong deliverer. He is and always will be your salvation, your hope and your strong tower. "…for He hath said, I will never leave thee, nor forsake thee." (Hebrews 13:5).
In Christ Jesus believers have been given the kingdom of God. In Luke 17:20-21 Jesus says, "The kingdom of God does not come with your careful observation, nor will people say, 'Here it is,' or 'There it is,' because the kingdom of God is within you." The kingdom of God is much like receiving Christ as Lord and Savior, faith is the hand that reaches out and receives it. Just as a gift given is not really received until it is accepted, unwrapped and possessed by the recipient. The kingdom of God is much the same way. It is ours in Christ, but we have perceived it to be just a realm reserved for us when we die and go to heaven. If that is the case, why did Jesus tell us in the prior verses to seek first the kingdom and all these things shall be added unto you? Jesus made it apparent that there is a "now" kingdom for us to possess and live into. We so often get it backwards. We put the kingdom secondary to our lives, our pursuits, our desires and our goals of becoming successful by worldly means and standards. Yet , Jesus tells us to seek FIRST the kingdom and all these things shall be added unto you.
Abraham was taken up and God showed him the nation that he was to inherit. He received it then by promise, but it was some hundreds of years later that the Israelites, as a nation entered in and possessed their inheritance. What was always the hindering factor to their possessing their kingdom? They were always getting their eyes off of God and on to other things. Their unbelief robbed them of their possession. The same thing we do today.
We are are God's kingdom in Christ Jesus, but "in" means we are into Him and not ourselves. It means that life is first and always about "Him" and not just about me. Kingdom is a place where you live and most of us are content just to visit occasionally. Kingdom is a state of mind, a state faith and a state of being. It is the paradigm and the mindset we live in as we are transformed by the renewing of our minds in Christ Jesus, into kingdom thinking and living. We begin to grasp who we are as Sons and come to realize all that we have been trying to be good enough to attain is already ours. God has already given it to us in Christ and now we are to simply live out of what He has already put inside of us. What has He put inside of us? Is not His own Spirit! What does He tell us in Romans 8:13-17? "For if you live according to the sinful nature, you will die; but if by the Spirit you put to death the misdeeds of the body, you will live, 14because those who are led by the Spirit of God are sons of God. 15For you did not receive a spirit that makes you a slave again to fear, but you received the Spirit of sonship. And by him we cry, "Abba, Father." 16The Spirit himself testifies with our spirit that we are God's children. 17Now if we are children, then we are heirs—heirs of God and co-heirs with Christ, if indeed we share in his sufferings in order that we may also share in his glory." What is the kingdom of God? Romans 17:18-19 tells us, "For the kingdom of God is not a matter of eating and drinking, but of righteousness, peace and joy in the Holy Spirit, 18because anyone who serves Christ in this way is pleasing to God and approved by men." It is not about the external things, it is about the inward relationship of our lives hidden in Christ and lived out as Christ lives.
The kingdom of God is ours, but are we really willing to possess it? Jesus said in Matthew 11:12, "From the days of John the Baptist until now, the kingdom of heaven has been forcefully advancing, and forceful men lay hold of it. "Are we the forceful men and women who in this hour will forcefully take hold of by faith what Father has already given us? "Do not be afraid, little flock, for your Father has been pleased to give you the kingdom." It is up to us to believe that and enter in.


Expand the Faithful Stewardship Team and establish leadership positions within the team.
Establish a Fundraising Calendar with a minimum of one fund-raising event per month.
Increase the number of sustaining members to 100.
Increase the number of institutional members by 6.
To join the Faithful Stewardship Team, please contact the JONAH Treasurer.


What personal information do we collect at our website?
On our website, GaelSong collects information that you provide directly and information collected through technology.
Enter a contest or sweepstakes, respond to one of our surveys, or participate in a focus group.
We may also collect information that you provide about people you know, such as a recipient's contact information when you send a gift or order gift cards.
During a normal visit to our website, we may collect information such as the amount of time spent on our site, the pages you visit, clicks, page views, browser type and version, service-provider identification, and IP address. Such information is collected in the aggregate and is anonymous in that it does not contain information that directly identifies you. However, such information may become non-anonymous to the extent that it becomes coupled with personal information provided by you.
As you interact with our service, we and our service providers may place cookies on your system. Cookies are small files that are sent to your browser from a web server and stored on your computer for record keeping purposes. In general, cookies make the internet more useful by storing information about your preferences on a particular system. They help us to improve our website, personalize your shopping experience, and provide you with better customer service.
In addition to cookies, we and our service providers use a variety of other technologies such as web beacons or GIF tags to personalize your experience and gather information on how users interact with our website. This technology allows us to associate your online interactions, such as the pages you visit on our website, your purchase information, and IP-based geographic location, with the personal information you provided to us. The technology also allows us to provide features such as saving items in your cart between visits and delivering product recommendations that are relevant to your prior purchase(s) or browsing history. We also use this information for reporting and analysis purposes in order to improve our business, to market products and services on our website and other websites and over various media, and to deliver products and services to you.
We use third-party companies to serve ads on other websites. These companies may use information about your visits to this and other websites collected through cookies and GIF tags in order to provide personalized banner and display advertisements for goods and services when you visit other websites, based on your interactions and purchases. To learn more about this behavioral advertising practice and to know your choices with respect to these third-party services, you can visit http://www.networkadvertising.org/choices/ or www.aboutads.info.
Most browsers include instructions in the toolbar help section on how to prevent your browser from accepting new cookies, how to have the browser notify you when you receive a new cookie, and how to disable cookies.
How will your telephone number be used?
GaelSong will contact you by telephone only in the event that the need arises to communicate with you directly regarding the processing of your order or inquiry. Telephone numbers are not shared with third parties.
How will your credit card number be used?
GaelSong uses your credit card number and expiration to process your current transaction. Credit card numbers are encrypted in compliance with PCI security standards. Credit card information is not shared with third parties.
How do we use other information collected online or by our call center?
To market products and services for the GaelSong catalog and website (such as adding to our email list or print catalog list when you make an online purchase).
How does our website interact with third party websites and content providers?
Our website may provide links to third party sites or display content provided by third parties, including social networking sites and other sites that host user-generated content. These sites and content providers' own privacy policies and terms of site use will govern your experience on these sites or interaction with this content, and we encourage you to review these policies and terms of site use.
What information is shared with or accessed by third parties?
We use third parties to provide certain support services to us. These third-party service providers do things like provide customer service, process orders and payments, provide call center services, administer sweepstakes and other promotions, maintain databases, provide web hosting, print and distribute catalogs and marketing materials, administer and monitor emails, provide analytics, provide marketing services, and serve advertisements on our behalf across the internet. For these and other functions, such third-party service providers may receive or have access to your personal information.
We may share your name, postal address and purchase information with other merchants who may use this information to send you offers for the merchant's own products and services. To opt out of our sharing your information with such other merchants, please email us at customerservice@gaelsong.com or call 1-800-207-4256 (Monday-Friday, 8:00 a.m. to 5:00 p.m. Pacific Time).
We may provide access to specific information about our website visitors when legally required to do so, to cooperate with police investigations or other legal proceedings, to protect against misuse or unauthorized use of our website, to limit our legal liability, and to protect our rights or to protect the rights, property, or safety of our customers, the public, or our business. We may also share information with companies assisting in fraud protection, legal compliance or investigations. We do not provide information to these agencies or companies for marketing or commercial purposes.
What choices do you have regarding GaelSong's use of your personal Information?
Your email address may be used to send you information and updates pertaining to an order, in addition to company news, updates, related product or service information, and special offers and promotions. You may stop future delivery of these emails by following the opt-out or "unsubscribe" instructions located at the bottom of each such email. Please note that opting out or unsubscribing to any of these emails will not stop your receipt of transactional emails (such as email confirmations of your online orders or customer service communications).
If you choose not to receive a print catalog or other mailed marketing materials from us, please email your request to customerservice@gaelsong.com or call 1-800-207-4256 (Monday-Friday, 8:00 a.m. to 5:00 p.m. Pacific Time), or write to us at the address listed above. Specify "Do Not Mail Catalog" in your communication along with your exact name and address. Please note that mailing lists are compiled several weeks in advance of mailing, so you may continue to receive catalogs for a month or two after you make your request.
Cookies placed by us (first party) or third-party service providers on our website provide us with important information on how visitors use our website, and enable us to deliver our ads on our website as well as other websites. You can block or clear cookies from your computer by following your browser's instructions. To block online advertising which may appear on other websites based on your online activity on our site, you can click the preference icon that appears on most banner or display advertising. To learn more about your choices with respect to third party advertising, please visit www.networkadvertising.org/choices or www.aboutads.info.
We take information security very seriously and use reasonable administrative, technical, physical and managerial measures to protect your personal information from unauthorized access. We use industry-standard encryption technologies when transferring and receiving consumer data exchanged with our site. We have security measures in place in our physical facilities to protect against the loss, misuse or alteration of information under our control.
In the event we become aware that the security of our website has been compromised or users' personally identifiable information has been disclosed to unrelated third parties as a result of external activity, including, but not limited to, security attacks or fraud, we reserve the right to take reasonably appropriate measures, including, but not limited to, investigation and reporting, as well as notification to and cooperation with law enforcement authorities. In the event of a data breach, we will make reasonable efforts to notify affected individuals if we believe that there is a reasonable risk of harm to the user as a result of the breach or if notice is otherwise required by law. No system can be guaranteed to be 100% secure. Accordingly, we cannot guarantee the security of your information and cannot assume liability for improper access.
How can you make changes to your personal information?
You may update or modify your account information by emailing customerservice@gaelsong.com or calling 1-800-207-4256 (Monday-Friday, 8:00 a.m. to 5:00 p.m. Pacific Time).
Our website is not intended for use by children under the age of 13, and we do not knowingly collect personal information from, or send marketing material to, children under the age of 13. Children under the age of 13 should always ask their parents or guardians for permission before providing any personal information to anyone online. We urge parents and guardians to monitor and be aware of their children's online activities, and we recommend the use of parental control or other web filtering technology to supervise children's access to the internet.
We collect various types of personal information about you during the course of our customer relationship. Under California law, California residents may make a written request to us for a notice describing what categories of personal customer information we may have shared with third parties. Upon receiving your written request, we may provide you with a notice describing how to opt out of our sharing your information with third parties for their direct marketing purposes.
Please include your mailing address so that we may provide you with our notice and third-party direct marketing opt-out form. Please allow 30 days to receive a response. Please note that this opt-out does not prohibit disclosures made for non-marketing purposes.


Light-emitting diode (LED) light bulbs have transformed home lighting since coming on the market. Despite proven benefits that far outweigh older lighting options, like incandescent and compact fluorescent light (CFL) bulbs, many people remain hesitant to make the switch.
It's time to finally dispel some common LED myths and get the real facts about these light bulbs so you can choose the best lighting for your Keller home.
Myth: LED light bulbs aren't worth the cost.
Fact: LED light bulbs are now only a few dollars more than ordinary light bulbs; significant research and development from manufacturers like Philips Lighting has made LED light bulbs more affordable.
Although the initial cost of an LED may be slightly higher than an incandescent light bulb, making the switch to LED lighting provides significant long-term savings. For example, quality LED lights have an average lifetime of 25,000 hours. This means if you have a light bulb on for three hours per day, then it will be 20 years before you need to change it. Plus, LEDs use up to 90 percent less energy than ordinary light bulbs; replacing incandescent bulbs with LED lighting will reduce your energy bill.
Myth: LED light bulbs are not bright enough.
Fact: LEDs can emit the same amount of light as incandescent bulbs while using far less energy. Many consumers look at the wattage of a light bulb to determine its level of brightness, but wattage only measures how much energy a bulb uses.
Light levels are measured in lumens. When you compare lumens, a quality LED bulb with a warm glow effect is as bright as a 60-watt incandescent bulb - both emit approximately 800 lumens.
Myth: LED light bulbs need time to warm up.
Fact: It's a big misunderstanding that LED bulbs need time to warm up before they reach full brightness. While fluorescent or CFL bulbs come on slowly, LEDs are "instantly on" and immediately shine with their full light output.
Myth: LED lighting can't be controlled and dimmed.
Fact: Unlike many CFL bulbs, most LED light bulbs are designed to easily dim. Dimmable LEDs can provide the right lighting for any mood or room in your home. For instance, the warm glow dimmable light effect in the Philips A19 LED allows light levels to gradually go from everyday functional lighting to a cozy, relaxing warm glow, replicating the effect of an incandescent bulb when dimmed.
Armed with the facts, you should feel confident that switching to LED light bulbs will allow you to enjoy hassle-free lighting, see savings in your energy bill and create the right ambiance in your Keller home.


My ideas were developed in the West.
HOW ARE SELF-HELP GROUPS DEFINED?
what is helpful and not helpful?
AND GROW IN A SELF-HELP GROUP?
Do my ideas make sense to you?
Brunswick, N.J.: Rutgers Univ. Press, 1999.
Riessman, F. & D. Carroll. Redefining Self-Help.
for Practitioners. Thousand Oaks, CA: Sage, 1997.