Centrepieces Annual Auction 2016

auction
In March 2016, I very excitedly booked our second annual auction at 'The Meeting Place' in The Orchards Shopping Centre, Dartford.  After our successful first auction here we were looking forward to creating a repeat performance, carefully timing it to finish just before the turning on of the Christmas lights.
However, as we moved closer to the event and began to send out word and advertising to our contacts about the coming auction, we thought we should just confirm with the shopping centre that everything was okay to go ahead.


It wasn't.


During the year, the management at Dartford Shopping Centre had had a restructuring, and during this time the record of our booking for the auction had been lost.  It was a big shock to everyone, as we had already done a large part of the work towards our yearly auction.


However, with the quick thinking of The Orchards Shopping Centre management and a lot of rescheduling for some very understanding groups who use 'The Meeting Place', with days to spare, the auction was back on!
Even the volunteer's children lent a helping hand with moving the furniture, taking pictures and keeping each other occupied with some quiet games and laughter.

A huge display of paintings were hung, covering the walls.


A visitor admiring a painting 'Full Sail' by Trevor Whitting.
Sculptures are a relatively new addition to the auction as we expand on sculpture workshops at Centrepieces throughout the year.
There are always last minute preparations in organising the most efficient way to keep the best records, and to keep the auction running as smoothly as possible.
A visitor admiring 'The Gypsies Promise' by Christianna Cassisa.















Diana Donkor, our arts administrator and Geoff Norris our coordinator then worked frantically on a tight timescale to gather and catalogue all the artwork that was needed.


Hundreds of selected artworks were loaded into the cars and van of our hard working team, all artists and volunteers of Centrepieces; the work was then loaded into shopping trolleys so that we could maneuver them through the corridors of the shopping centre from the loading bay to the venue. Paintings were hung wherever we could find space, sculptures were displayed on the furniture we could find, and display tables were set up for cards, hand made jewellery and artwork to be sold there and then.


Once the artwork was all in place, the shoppers started to wander in to see what we had on offer.  Artists and Centrepieces members were there for 3 days during opening hours waiting to talk to interested visitors who primarily came to see the wonderful artwork on offer, but were also very interested to hear of the personal stories of the artists, and how art for them can be therapy, an outlet and eventually a career!

Other stalls that were on display held Centrepieces greetings cards, small sculptures, unframed paintings, and handmade jewelry that were on sale throughout the viewing period, before the auction.  


The large range of Karen Larkin's handmade jewellery on offer throughout the four day event.
Members of the public admiring Karen Larkin's huge range of handmade jewellery.
Stalls were also there for cards, sculptures, paintings and hand made jewellery available to be bought on the spot.
On the morning of the auction there was more work to be done, and as well as speaking to the members of the public who were still discovering this Aladdin's cave of wonderful art work, our team of helpers got to work arranging the chairs, remembering to allow for wheelchair access and viewing space.  Then there were our food organisers who bought, prepared and laid out a beautiful buffet, not forgetting the mince pies, fruit juices and wine!  While all of this was going on, our administration team worked out the best plan of action for the complicated processes of registering bidders, handing out the paintings and taking the payments.     


Hand made pieces, jewellery, Christmas ornaments, keepsake boxes, and sculptures ~ a few of the extras on offer.
Paul Adams our auctioneer adds a little interest or personal touch to every piece by remembering the stories he hears in conversation with our artists, members and other volunteers. He creates a great atmosphere with an easy and laid back humour, while keeping everything together with his professionalism.

After our auctioneer had familiarised himself with many of the artworks and gained some interesting background information about some of the pieces, we counted down the minutes until we could introduce ourselves to the audience that had slowly been filling the room, and start the auction.
Our auctioneer Paul Adams assisted by our lovely ceramics workshop tutor Denise Tarrant.
The auction fell into a nice rhythm and many pieces were sold, some had advanced bids already for those bidders that couldn't attend the event and when the auction came to a close, Centrepieces had sold about a third of the artworks, and made over a thousand pounds, which was split with the artists 50/50.

Seconds before our auction was about to start.
Our happy young assistants helped from beginning to end, and entertained and uplifted us with their endless energy and smiles!

When the auction was over, everyone enjoyed our buffet and there were lots of animated conversations about the auction, about the Centrepieces Mental Health Arts Project and generally about art, life and everything in between.  Happy buyers left with their paintings and sculptures they had bought, either a treat for themselves or perhaps Christmas presents. And who knows?  Perhaps one day, that little painting will bring them a huge investment when they see that their chosen artist has at last achieved fame and fortune!
Thanks to some lovely helpers, we had a fantastic buffet to offer our volunteers and guests to the auction!
Written by Christianna Cassisa
Photography and editing by George Banfield



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Exploits of the Flaneur or confessions of a Steward

popular
Yet another year has come to pass for another Centrepieces annual showcase exhibition at Hall Place’s main Gallery. This time the work seems even more polished and striking in content than before. With a huge private view of over a hundred milling visitors to boot and a tremendous fanfare of speeches headlined by the local Mayoress no less, the stage seems well and truly set for an ever more popular event.
But what exactly is the nature of popularity and interest in the mind of the local public or viewer. On a warm and humid Wednesday afternoon I sat alongside the visitors table acting as exhibition steward ready to greet these perspective oncoming inquisitive people. I have never acted as a Steward before but had always secretly desired to have a go at the role, on reflection of previous engaging visits to established galleries. What discussions would crop up? What viewpoints would be raised? What intentions to buy would be made?




 When thinking of exhibition visitors I am always put in mind of the innovative observations of French Writer Charles Baudelaire. For it was he that signalled the birth of the modern viewer in regard to the notion of the ‘Flaneur’. The Flaneur it was claimed was the initiator of the first type of shopper and browser as portrayed as the original street stroller of the early nineteenth century French boulevards; specifically relating to the Paris Arcades. This person was considered the forerunner of our modern city citizen of leisure, with time to spend on both perusal and potential procurement. Behaviour which I think seems very apt in regard to notion of the common visitor today.
So as stated above, my involvement here is actually one of extreme interest in the interactions of the public with the exciting artworks on show. I decided to use my time wisely and make a point of actively listening to the comments being circulated around the gallery which indeed proved to be both insightful and amusing.

  

Loosely speaking I noticed three very distinctive sets of visitors; couples and small groups of friends, families with children and toddlers and lone onlookers. The duration spent looking varied between either very fast viewing whereby the gallery was used almost in a short-cut through-fare manner and long drawn-out scrutinising exercises. The scrutinisers who tended to be solitary seemed very drawn to more issue based work. This was clearly the case in Dawn Tomlin’s collective installation pieces where vocal comments were replaced by contemplative looking body gestures.
Some themed works it seems will always generate a lot of interest, animals in particular appear to be popular with many. Dawn Tomlin`s series of cat prints provoked many comments. Two elderly ladies confer ‘That looks just like my Sooty’, a further couple conflict ‘You don’t need any more cat pictures’ (the speaker then physically pulls away their companion from the artwork).


“…Looks just like my Sooty!”
People also always seem to enjoy taking on the detective role. Whilst looking at Trevor Whiting’s boat on a Kentish beach’ people were debating where the picture was located. A man was sure that it was portraying Whitstable, another was sure it was Hastings.
It is interesting that Titles and text can also provide talking points, in the photograph ‘Colin’ of an eaglet by Alex Spendley a couple stand debating the possible reasons for why the eagle was given such an everyday name. With regard to Christie Cassisa’s painting ‘God is angry and she is black’ a man remarks to his wife ‘I love that title but it is too expensive for me’.


“Does he look like a Colin to you?”

Of course expense is a very large concern for many. On watching a parent explain to their son the dynamics of an art label outlining the protocol of Artists name, title and price the child immediately jumped to the notion of ‘which one’s the most expensive here’. Indeed many youngsters were captivated by the use of real coins in Barbra Cotters ‘Money Head’ a boy suggested to his Father ‘Dad if we buy this its only £80 but we’ll get a pound back in loose change!’


“its only £80 but we’ll get a pound back in loose change!”
I noticed a lot of people taking pictures with their camera phones, one gentleman asked ‘Is it O.K. to take some photos? I used to work at the national portrait gallery and the security there were rough’. ‘That’s fine’ I replied.
The communications between families were very interesting. In one instance a Mother and her Daughter were viewing  the lurid abstract ‘Scintillating’ by Barbara Cotter, the young girl turned to her mother and said ‘Can I have that one for my bedroom?’ her Mother on studying the label and possibly seeing the £170 price tag gave no reply. Then in the usual manner of a fickle youngster the girl quickly turns to Barbra’s other painting ‘Portal to Psychosis’ and retorts ‘I’ve changed my mind I want that one!’.

  



“Can I have that one for my bedroom? … I’ve changed my mind I want that one!”

As well as content people were also quite observant to processes too, Libby Harris’s mixed media portraits highlighting Klimt-like characteristics gained the attention of another girl who declared to her parents ‘you see real artists can use glitter too!’. Also I have noted before the continual fascination with the use of breezeblock carving, a man was pondering the towers of John Excell ‘I didn’t know you could do that with breezeblock’ he exclaimed.

“you see real artists can use glitter too!”

There was some interesting interactions between very young toddlers and their parents also, in some cases it seemed that parents were using the artwork as a kind of early learning activity.  In the artwork ‘Squirrel in the realm of the Green Goddess’ by Georgina Bowen a father points out in a storytelling fashion ‘look the fat squirrel has eaten all of the nuts’. In Christie Cassia’s ‘Twilight’ a mother exclaims ‘look she does wonderful things with the light ‘to which  the young child replies ‘Yes Mummy if you buy me some new pens I will draw it for you’. There were some wonderful moments too as two toddlers stood starring at Joan Scher’s magical landscape ‘Fantasia in Kent’. They stood and starred for at least 3 whole minutes and then uttered the words ‘Beaut-i –ful!’ and then walked away smiling.


“Beaut-i –ful”


    


“… if you buy me some new pens I will draw it for you”

The Sculpture seemed to provoke a lot of people wanting to touch it, I lost count the amount of times I overheard Parents telling their kids ‘not to touch’. The mixture of ceramic and salt dough pieces were plainly very tactile and alluring. One child remarked ‘Can we do some potty at home’ his mother corrects ‘it’s called pottery’. I was pleased to hear when another excited young boy announced ‘If I was rich I would have all of these in my garden!’.


“Can we do some potty at home”

Strangely there was some confusion about there being two Dawn’s in the same exhibition, a couple enquired ‘Are Dawn Tomlin and Dawn Tonkin’s the same person? No I replied there are both different people. ‘So how can you tell them apart?’ they asked. I was a bit bemused by the question but explained Dawn Tomkins has pink hair. ‘Oh yes (replied the man) I can see that reflected in her work’ whilst moving closely towards the drawing ‘Sword with Dragon’. I then went on to explain that both artists along with Christie Cassisa had individually won the new ‘Jackie Inspired Award’  for their artistic commitment within the group.

   

“Are Dawn Tomlin and Dawn Tonkin’s the same person?”

Barbara French seems to be an artist well known and loved by the public, her realistic style of large landscape country scenes are clearly very appealing. A man comes scurrying in to the gallery with his wife and states ‘We’re too late for Barbra French, they always sell early’. Another man sadly confirms with me ‘are you sure that it’s sold?’



It was really nice to observe all of these comments; I entered into further short discussions regarding Centrepieces via the brochures on display (which quickly ran out). People genuinely seemed to engage in the idea of Mental Health being the driving factor of the group, one enthusiastic man said he would be keen to join and left his details.



Of course the normal exhibitions review process typically involves the utilisation of an exhibition comments book. But such books often seem to prompt overly praiseworthy limited reviews especially when a steward is so closely present. It is always good therefore to hear the first hand direct vocal responses of common recipients in all exhibitions, especially when it seems we are in the process of moving forward as an arts group and so keen to work positively and dynamically within the local community.



It would seem a variety of artworks command a variety of visitors. Long may Centrepieces exhibitions and artworks continue to stimulate and enthuse the public at large.



  Written by Kim Campbell, edited by Guy Tarrant
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CHRISTIE CASSISA: AGM SPEECH

EXTENDED FAMILY

The tribute to Centrepieces given by one of its volunteers at the AGM on 22 June.


I have a mental condition. I am an artist. I like to believe it is infectious, and if it is, then Centrepieces will continue to grow.

One of the symptoms of this condition is that I like to re-invent life as a series of my own metaphors. As a toddler people saw it as cute that I saw the roots of a tree as a claw gripping the ground, or a gash in the mud as a smile of earth. When I was seven, and I started copying my father’s drawings, I found out that having artistic talent bought you love, admiration and attention. As a young teenager, breaking and entering the art classroom to be on my own and paint pictures rather than sit in a cold playground, singled me out as a strange child with issues, and there were issues.

I found I could use my creativity to paint a rose tinted-life for my sister and I who were surviving a life with our father Tony Cassio – professional wrestler, artist, inventor, scientist, occasional hell raiser, genius both good and evil and general mad man. I love him dearly, but life was confusing to say the least. 

I created a bedtime story for my little sister called, The Dream Train where she and I could escape into the night onto a flying steam engine that took us into any adventure that suited us and equalized the fear and uncertainty of our childhood at the time.

I formed a habit of escaping into my imagination. I often appeared to be in a daydream when I should be paying attention, and blurted out uncomfortable observations when I should have kept quiet.  Whenever reality got too much, I could always fall back on my powers of imagination, turning a boring bus journey into a disastrous situation where a group of passengers come alive with their true colours, or turning a walk through a woods into a Disney adventure to another dimension. It was my way of masking the hurt, and confusion of a reality that I wasn’t equipped to deal with in a practical way.

Around the time of my 40th birthday, my stepfather, developed liver cancer, and I made a promise to him and my mother to help him through the illness without treatment, and to support him in his wish to die at home. 

At the same time my real father showed the first signs of Lewey Body Dementia giving him horrific hallucinations. My sister and I were put under the enormous pressure of caring for him, moving him to a more manageable house, dealing with his mental and physical decline and eventually having to move him to a care home.

My imagination ran dry: the shit had hit the fan, and there were no Disney animals to help me clean up. Finally, the pressures became too much, depression took over; my life had changed faster than I could cope with and this led to a breakdown and a short stay in Rohampton Mental Hospital. In my week there, unable to talk about how I was feeling, I started to draw. 

I drew eyes surrounded by prison like structures and I drew doors in walls with various obstructions. I started to label parts of the drawings, and from there was able to slowly start to speak about what was happening in my mind to the therapists trying to help me.

I left the hospital, feeling broken, ashamed, mentally and physically weak, paranoid and confidence at the lowest. I wasn’t sure how I was going to deal with life or go back to any normality, but I had one silver lifeline to hold onto. My art!

I knew that I couldn’t cope with a regular job, and after numerous failed attempts to find a place for myself and my art in an area where it seemed there wasn’t much interest, I was introduced to Centrepieces. 
  
When I walked into the lodge, I wasn’t sure if I was in heaven, or hell. It seemed to me that talent was dripping from every wall, a language of colour, darkness and light! Looking at all those paintings I felt that I was in a dimension of despair, hope, and joy! The paintings expressed levels of depression and of celebration! Words were unnecessary, the language here was art and I felt I had found a world that I could understand!

I met Geoff Norris and Dawn Tomlin in their grotto-like office, where my manic firework display of enthusiasm was met with reserve and apprehension, but as always, they were desperate for volunteers and were happy to take on any lunatic.

I have to admit, I came in like a bit of a Tasmanian Devil, but I had found my tribe and rather than made to feel like an outsider, I was guided, encouraged and sometimes reprimanded, until I was able to offer a more harmonious contribution. 

I cautiously took on the role of Sculptor Tutor at the lodge when my suggestion to apply for a grant to develop our sculpture department became a reality. 

I don’t believe you can really teach art; what I do is enhance and encourage the unique talent that is in each person, but I can teach techniques and in the year that I have been guiding the Centrepieces artists in the techniques of stone carving, woodcarving, casting and ceramics, I have seen the fundamental qualities that Centrepieces is bringing to the community. 

People come to Centrepieces suffering mental illness either from inherent conditions, or from the traumas that they have suffered in life. They come to Centrepieces almost as a last resort, not really sure of what the therapy of art can do for them. 

However, in most cases, what I see is a glimmer of hope as they learn techniques that produce something that they can recognise, enjoy, and give to the world. That glimmer of hope becomes pride and appreciation in themselves and their new found ability. I feel honoured to be able to witness that pride become confidence as I watch the members of my art group start to teach new comers and create art of their own, expressing feelings and thoughts that were trapped inside a mind that perhaps felt ashamed and persecuted for who they are and how they cope with the world.

Through Centrepieces, I have found an extended family with a common goal, to keep art in the community alive, to show the importance that it brings to people, as a form of communication, and freedom of expression. 

As I see it, art is a doorway into a world where there are no rules, where miracles can be created and for those people who step through, it can be very difficult to make sense of a world that likes to pigeon hole, label and control everything. To be an artist, in my opinion is to be free of the restrictions that are often necessary to fit into a clockwork society. To fly as a bird, between the cogs and wheels of society is a scary thing, and often feathers and wings can be caught and crushed. 

The charity Centrepieces is such an important stronghold for these creative people, offering a safe environment to heal and to grow.

I have experienced the life changing support that Centrepieces can offer and have seen first-hand the powerful changes it has brought to people’s lives. I am so thankful to all of the people that volunteer their time to keep Centrepieces alive, all of your contributions, your interest, every bit of support helps to generate more interest in a social environment that can alienate people with mental issues and struggles to find a functional reason for art.  
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AGM 2016

Inaugural Annual General Meeting

On 22 June 2016, Centrepieces held its first annual general meeting since it was registered as a charity.



















The meeting was opened by the new Mayor of Bexley, COUNCILLOR EILEEN PALLEN (below left) and there were 40 members, trustees and other guests in attendance.

The Mayor described how she had been involved with Centrepieces since it was set up 17 years ago, said how proud everyone should be of what had been achieved over that time and how much the efforts of members and volunteers were appreciated.

ANDREW GRIEVE, the Chairman of Centrepieces, presented his first Annual Report. He thanked the Co-ordinator, Geoff Norris, for all his hard work, and all the volunteers and Trustees. He gave a special mention to Dawn Tomlin, who had given up so much of her time as Assistant Co-ordinator and will be much missed now that she is moving on.

Andrew announced a new artistic award scheme called the Jackie Inspire Awards in memory of his late wife, Jackie Grieve, who was a founder member of Centrepieces. The awards will be presented annually in 3 categories, most likely to the person who has made the biggest contribution, the best newcomer and one other category.

MIKE ELLSMORE, Trustee and Finance Director, presented the finance report. Centrepieces is almost entirely reliant on volunteers, donations and income from the sale of artwork and has enough in its reserves for the next 2 years. The challenge will be to secure affordable accommodation when the lease of The Lodge runs out in 2017. Mike thanked Jean Lyon and Annie Greywoode for their help with the accounts and finances.

GEOFF NORRIS paid tribute to the all the past and present volunteers and trustees, as the charity wouldn’t be able to function without them. However, it is now time to find funding to appoint paid staff, so that the charity can move forwards more strongly.  He thanked all the talented artists who use the facilities of The Lodge, saying they are great to work with and learn from.

There was some official business to be done – Andrew stood down as Chairman but was re-elected unopposed. Trustees Don Boyle and Lucy Mortimer retired and were thanked for their contribution. Guy Tarrant also stood down as trustee, but was re-appointed. All the other current Trustees remain in place for the next year.

A number of artists and volunteers from Centrepieces then spoke movingly about their experiences and how much Centrepieces means to them:

JOHN EXELL has been a member for 17 years, and has always found Centrepieces to be a welcoming and therapeutic environment that produces amazing art work. He believes that many great artists were mentally ill when you look back on their lives. He worked with Jackie Grieve and Vietnamese and Somali teenagers on a project to create totem poles with ethnic identity, and on other public art projects.

DAWN TOMKINS (left), member since 2000, finds that Centrepieces allows her to express herself through art and to build up her self-confidence. She has been featured in the Big Issue and has sold artwork in the USA.

ANNIE GREYWOODE has been a volunteer for 10 years as Finance Assistant. Working at Centrepieces has improved her mental health, self-confidence and self-esteem, and has allowed her to put her accountancy skills to good use and develop her CV.

CHRISTIE CASSISA described how art was a lifeline for her in a confusing childhood followed by depression and a breakdown. Centrepieces became like a home and extended family for her and she now has pride and confidence in her work as a project leader.  Her complete speech is posted separately on the blog.

ANN CRONIN (left) has been a member since the early 2000s. She used to be a scientist but collapsed in her 40s due to overwork. She took up art as a therapy, and found it a great support when her friend died. Centrepieces is non-directional and inspires everyone to make their own journey.

GUY TARRANT has been a project leader since the 1990s and is now also a Trustee. He gave a presentation about Centrepieces’ involvement in public art in Bexley (below) and showed slides of the work. He believes public art should be created with community participation and not sponsored for commercial interests. It should engage the community and allow people to use dormant skills and ideas and have fun.
Pictures of Centrepieces’ public art works and their history will be posted elsewhere on this website but these are Guy’s highlights:

The Worrier – a play on Rodin’s The Thinker, it was as sculpture of a man worrying about urban life. It was unfortunately damaged by a tractor during the regeneration of Crayford.

The Emotional Spiral – a planted frame commissioned by Oxleas that celebrates recovery and well-being.

IDENTITY POLES – breeze blocks carved by Indian, Vietnamese and Somali teenagers then assembled as identity or totem poles. The project was funded by Bexley Council for Racial Equality and attracted awards and press attention.

MAGPIE PROJECT 1 – an upcycling and recycling project where Vietnamese children made tin dragons and mini-robots from junk and electrical stuff.

ANIMAL STEPPING STONES – animal mosaics made by the children of Upland Junior School and placed in animal habitats in their wildlife garden.

The Nest – funded with compensation for the damage of The Worrier, a refuge made of natural materials near the river and bird viewing shelter in Hall Place Gardens

Centrepieces would like to thank Bexley Heritage Trust, Oxleas NHS Foundation Trust, the London Borough of Bexley and William Kendall’s Charity for their continuing support and The Learning Centre, Bexley for providing the space for the meeting in their Brampton Road centre and the excellent lunch that everyone enjoyed afterwards.

Examples of members' art displayed at the AGM.
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ASYLUM DIARY Part 1

Beginning a series of extracts from the 'Asylum Diary' written by Britta von Zweigbergk. Now a Centrepieces trustee, she worked at Bexley Hospital until it closed and kept a detailed journal of her time there in the hospital's Art Therapy Department. They paint a vivid picture of what working in the mental health sector was like over twenty years ago. The selection of entries for this blog begins in 1984...


Wednesday 1 February 1984


A selection of work by 'GG'.








I got a shock when I walked into the Art Therapy Department this morning. The damp smell that has been troubling us for a few days was even more pervasive, and the cupboard had been moved to the back door.

It was strangely unnerving to come in, prepared for a quiet morning as is usual on Wednesday when we are closed to patients, to suddenly see someone rise out of the floor wet and smelling of sewage. It’s a good thing my heart is fairly sound.

Evidently there is a blockage in the drains – certainly, the end of the department and store room have been smelling very damp, and the floor in my office is gradually subsiding into the labyrinth of cellars below.

Dudley helped me move the cupboard into the office. It’s a lot better in there anyway, and, as he said, it could be to our advantage in the long run – our floors will finally be repaired.

I have warned people that if I do not emerge after a period of time from the office, please explore as I might have disappeared into the cellars underneath, never to be seen or heard of again – another of the unsolved mysteries connected to Bexley Hospital.

GG was on hand to help and to move his paintings to a safer place. After all the hard and unexpected work, he certainly regretted coming in so early. “I should have gone to collect my wages,” he commented ruefully .

I am taking BH and GG to the Tate Gallery later this morning. I’ve arranged the hospital taxi to take us to Swanley Station, where we can get a train to Victoria and then the underground to Pimlic. Much quicker than going from Bexley station to Charing Cross.

Later…

The back door of the Art Therapy
Department, with the Art
Department bike!
It was good looking round the Tate. GG disappeared to look at some paintings and BH and I did our own tour of the place. We started off in the main gallery where there is still an exhibition of pre-war British sculpture. It’s not a big exhibition, but it’s a good one. I particularly liked Jacob Epstein’s work, a small figurine, grotesquely pregnant; ‘Osbert Sitwell’ by Frank Dobson was gently good; Epstein’s head of Nan and a couple of portrait busts – a Barbara Hepworth and Henry Moore… there is something so harmonious and compelling about these shapes.

BH seemed impressed but a little tense. I wondered whether he may have felt a bit out of place in our surroundings – being very much a ‘man’s man’. Culturally it may not have been entirely acceptable for him to go to galleries and museums. He was reluctant to be seen in the cafeteria; he said he would stick out like a sore thumb. Overall, though, I think he was pleased to have gone to the Tate and enjoyed seeing the different pieces; he has a natural affinity with shapes and sculpture. It’s pleasing to see this natural ability developing in the open art therapy sessions in the department.

To be continued
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