Delynyans Kernow, the wash-up
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I can now draw breath and start to catch up, though for a time yet it's all going to be a bit breathless. Its wash-up for Delynyans Kernow which is now behind us but looming is urgent work on other projects set for June. [And this is not to mention the CERES restructuring in or around April].
At this rate it could be the autumn before dusts begin to settle - all good stuff though and I'm not complaining.
Reverting to the exhibition all went splendidly despite the weather and we were delighted with outcomes. I'll be putting out a report on the initative and its outcomes before too long, though probably not before the wash-up on 6 March. The private view and reception went splendidly with a large attendance - indeed had those who were snowbound been able to come the room could have been uncomfortably crowded.
Vanessa Beeman made an effective opening speech first in Cornish and then in English; there was a bevy of representatives from Embassies and the like; people from the art world and from the London and Thames Valley Cornish Associations including a handful of bards were there, plus two members of the former Ethiopian Imperial family marking Cornwall's involvement in the Aida Desta saga.
Three Cornish MPs came across from the House, and the Conservative PPC for North Cornwall was seen busy lobbying. My own family turned up in force, including two who had battled out of the snow in Cornwall that morning, driven to Milton Keynes to pick up another relative with all three going on to London and arriving in time. And importantly the paintings were worthy of Cornwall.
There was a steady flow of visitors on the public viewing days, as Fiona including the Latvian cultural attache, who had been unable to be at the opening. Jean Monnet House was pleased and impressed with the achievement.
The exhibition has now moved back to Cornwall and currently is at Truro School. It may go on to another gallery later and possibly to the Royal Cornwall Polytechnic at Falmouth. These are no longer matters for CERES since they are not European-related, our involvement having ended once the paintings left the Commission's offices.
Just occasionally the clouds lift as they did for Delynyans Kernow, though only after months of long-drawn out preparation. It's all a bit like Shelley: "Rarely, rarely comest thou, Spirit of Delight". But when it does it's worth it.