During Sunday's Mosaic of Art  broadcast, we meet Charles Stainback. He is Norton Museum of Art curator of photography and provides a "backstage" account of the pleasures and challenges of the curatorial profession - and eloquently presents his particular style of practice. We begin with a short characterization of the normally arduous process of creating an exhibition.


VIK MUNIZ, The Tragic End of 125,000 Miles of Air Travel
courtesy the artist and Sikkema Jenkins & Co.

The hard work begins about a year out. Six months out were dealing with all sorts of issues from presentations to loans for borrowing works from other institutions. The last two weeks are the funnest part, because we're actually in the gallery with the art works and sometimes with the artists, actually installing the show. So after working on something for a year or two, we have maybe two weeks to play and enjoy it, and then there's the opening and then we start the next project.

An exception to this timetable was the "Now WHAT?" exhibition from last winter.

ALLYSON STRAFELLA, Inverted Red Catenary  

 courtesy of the artist and Von Lintel Gallery

We started December 1 at 10 o'clock on Wednesday morning and we just started walking. The one thing that we said is that we wanted it NOT (to be) sort of a top 40; we wanted it to be an exhibition where there was a thematic connection between the art work, so it made a more significant curatorial statement.

This show, from the starting of the curatorial process to the opening, was about 10 days, which some of my colleagues basically asked me if I was crazy! But it was a fun exercise ...and it's really an exciting exhibition.

Volumes from an Imagined Intellectual History of Animals, Architecture and Man, 2010

Image courtesy Black & White Gallery, Brooklyn, NY

We consider the connection between collecting now and collecting when the Norton Museum was founded. 

When you look at the history of the Norton Museum and Ralph Norton, his collecting philosophy in the 20s 30s and 40s... he basically was collecting contemporary artists. So following that tradition we want to really embrace Ralph Norton's sort of daring acquisitions of about 70 years ago and make sure that we are addressing the art of the moment.

NICK CAVE, Soundsuit 2
NICK CAVE, Soundsuit 
courtesy Norton Museum of Art

In Stainback's view there's a prevalent misconception about the role and power of the art Establishment. 

People think that curators and museums define the art world and define the art, and it really is the artists.  Artists show us and tell us what is significant, and our job is just to respond honestly to what the artists are doing.


Courtesty the artist and Elizabeth Leach Gallery, Portland

The curator describes one museum patron's reaction to a piece in the "Now WHAT?" exhibition.

David Shapiro.. makes drawings of every receipt for everything that he spends money on from his cable bill to his cab ride...and he draws these things with exacting detail and they're done on basically a long scroll... The drawings are exacting in their detail. I've even had heated discussions with people who try to tell me this cannot be drawings - that they're xeroxes!


Popularity isn't paramount in his decisions when he feels it's time to showcase important work.  

Last summer I did a show that was a video exhibition.. we knew that virtually no one would like the exhibition, but I felt that the topic was an important one in terms of introducing video art to the general public in South Florida. Video is really very much a part of contemporary art.The comment book in the gallery... I would say 75% of the people were just outraged, but there were 25% of the people who thought it was fabulous!

This certainly demonstrates a "glass half full" attitude, and Stainback has a great appreciation of his position at the Norton, which gives him full opportunity to express his creative voice. 

Ojeikere_Onile Gorgoro
J.D. OJEIKERE, Onile Gorgoro
collection Norton Museum of Art

That's the great thing about museum work, and that's the great thing about this museum. They really do allow the curators to make their statement, to sort of say here's what I think is significant; here's what I think we should be thinking about.  

Please tune in to 3-4pm on Sunday to hear the full conversation.  (Register if you like, so you can join the chat room)  Charles Stainback is clearly passionate about his work and gives a clear sense of what goes with the territory.  

Can't make it Sunday? Don't worry. Shows are archived.


George Fishman, producer/host

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MOSAIC OF ART - Episode 39

By George Fishman, 2011-03-23
A fateful series of fruitful sessions with Andy Warhol and other illustrious Pop artists at the brink of their fame has served as a calling card for WILLIAM JOHN KENNEDY's photographic production, but he has been a prolific, highly talented and successful artist before and since. In this episode of the Mosaic of Art, Kennedy shares stories from this fertile period of his life.  LOUIS CANALES, creative director of Miami's Kiwi Arts Group, contributes his expertise on the forces at work during this critical "changing of the guard."

WmJohnKennedyHoldingMarilynAcetate 3

Andy Warhol holding an unrolled acetate of “Marilyn” in the Factory, New York City, 1964.

© 2011 William John Kennedy,

A major collection of his negatives, shot during the 1960s at the Factory and in other  settings around New York City has recently been printed and presented to the public in collaboration with Kiwi Arts Group. 

WmJohnKennedyWarholFlowersIII 2
Andy Warhol in a field of black-eyed Susans holding a bouquet of flowers with an early “Flowers” canvas serving as a backdrop in Queens, New York, 1964.       © 2011 William John Kennedy,

Actually, it was sort of a self assignment. I had this specific idea in mind of shooting these particular artists, but involving them heavily with their own work. My own belief was that that particular way of recording artists and their work had not been done before that. - W.J. K.

WmJohnKennedyIndianaReflecting 2
Robert Indiana at his Coenties Slip studio with “EAT/DIE” (1962) diptych on wall and “The Red Diamond Die” (1962) reflecting in mirror, New York City, 1963.      © 2011 William John Kennedy,

When his (Robert Indiana's) mother died he was in the Air Force in Alaska and he got a leave of absence to go back home...  when he arrived, he didn't recognize her, because she was so far gone, and she asked him, "Have something to eat," and five minutes later she died... So, there's that autobiographical point of view. Added to that was his view of American consumerism. We're here to eat consume and then die.  L.C.

WmJohnKennedy_IndianaInHisPlantRoom 2
Robert Indiana sitting in the plant room at his Coenties Slip studio, New York City, 1963.

© 2011 William John Kennedy,

He (Indiana) would take one of these particular structures, and then off of that he would go into an abstraction with it, or actually use it as an outline for his numeral works and that sort of involvement. W.J.K.


Robert Indiana holding his cat at his Coenties Slip studio, New York City, 1963.
© 2011 William John Kennedy,

The art structure at the time tried to suppress this, because what they were doing, this new group, was a Renaissance in art. What it was going to do was not necessarily negate what had been going on in art before, but the focus would now be on this new group rather than the old group. - W.J.K.

Contact sheet of Ultra Violet in William John Kennedy’s New York City studio opposite his north light window,

New York City, 1964.    © 2011 William John Kennedy,

It wasn't so unusual for Bill Kennedy to photograph someone wearing a necktie, but in the case of previous Mosaic of Art guest, ULTRA VIOLET, it was all she wore that day. Bill describes the fun and challenge of this wintertime shoot.  All you had to do with this enchanting woman was give her a prop and let her go; you just let her go free, and you can see the results - a great, great talent.  - W.J.K.

Also on Sunday's show...

 TOM WEINKLE_Wetlands 2

©TOM WEINKLE, Wetlands


 Following a successful career as a graphic designer, pastel artist, TOM WEINKLE is pursuing his dream to create personal artwork full-time. His chosen medium is pastels, and he'll explain why.  I think that one of the things that makes pastels unique is the way that the color reacts with the surface you're working. While if you're painting, you're usually holding a brush or some other implement between you, and it's basically just a bigger distance... I felt like pastel gave me a much greater connection with what I wanted to do and say and record. - T.W.     

TOM WEINKLE, Adrift some sense the title Adrift is very much what it's about. I saw this boat and I started to realize it wasn't really that the person had to be in it, but this wasn't moored anywhere... This idea of what it means for your boat to be kind of drifting, whether it's calm or rough seas. I thought that was kind of provocative. - T.W.

TOM WEINKLE, After Hours

©TOM WEINKLE, After Hours


In a sense it's an attempt to really show what it is for the fairy. I mean what is her down time like? What happens? Is she tired? Is she exhausted? Is she relieved? And so that was the root of what that painting was about.  - T.W.

TOM WEINKLE, Near Hacienda Martinez
TOM WEINKLE, Near Hacienda Martinez


One of the fun things about being an artist is... Often you're recording, making pictures of things, but at the same time there's a point in every piece of artwork where it sort of takes off and becomes art and not just a recording of what you saw. T. W.


Please tune in to 3-4pm on Sunday. (register if you like, so you can join the chat)  

Can't make it Sunday? Don't worry. Shows are archived.


George Fishman, producer/host

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For years, if not decades, charity auctions have served as a vehicle not only to raise funds for worthy causes, but also for artists to get their work out in front of potential collectors. This week, I'll be speaking with a PR representative, Lisa Silvera of seepr services, Nelson Delgado, director of T.E.A.M. (The Eclectic Arts Movement) a Miami-based "institution that focuses on new developments in painting, fashion design, sculpture, photography, architecture, performance art and new media" and visual artist Marcelo Holzinger who's donating artwork to an auction next month.


On Sunday, in a live conversation, I'm going to speak with three people who are currently organizing an event intended to raise funds for purchase of prosthetic limbs that will be distributed to earthquake victims in Haiti.

These are the questions I plan to ask.  Please feel free to call in with yours. 646.721.9843. Or send a note to

Welcome to the Mosaic of Art, Marcelo. Please tell us about your artistic background and how you came to establish your studio here in Miami.

You work in a variety of media. What are the advantages and disadvantages of this approach, as compared to specializing in just one area?

Besides just creating the best work that you can please talk about how you go about marketing yourself and reaching potential clients?

What would you say distinguishes your individual creative approach? Are there certain characteristics that are consistent in your paintings from year-to-year?

Do you feel that it's important that someone be able to look at one of your paintings and know right away that it is yours?

Miami is a dynamic place for the visual arts these days. What would you say are some of the advantages and disadvantages of so much activity?

How did you come to be acquainted both with the eclectic arts movement and with Lisa Silvera and her public relations team?

What gave you confidence that this charitable project was going to be well run and produce the benefit you expected?

Besides contributing the artwork, do you have any other involvement with the project?

Nelson Delgado, welcome to the Mosaic of Art. Please introduce the program that you direct. How long have you been established, and what are your goals? 

Lisa Silvera welcome to you as well. Please describe your firm's essential approach to serving your clients and tell us how you became involved with this project and your collaborating partners.  Tell us about No Boundaries Prosthetic Foundation.  How did you hook up, and how did you know there would be a good fit?  Please give us all the pertinent information about this auction.

Have you helped organize other auctions before? What are some of the important steps to ensure smooth sailing and to achieve the fundraising goals and two make sure that everyone is satisfied?

Let's assume some fundamental goodwill is at the heart of the organization of an auction. That said, people also get involved because they desire to make connections and to gain recognition, whether they're an event planner, a caterer, and auctioneer, an artist or public relations specialist. Would you agree? How do you weave together these various motivations?

How do you keep the overhead to a minimum, so so that  the auction yields a maximum profit  for its beneficiaries?

If some in our audience are approached by the organizers of a prospective charity auction, what kind of due diligence should they conduct? This is assuming they don't know the people who are contacting them. What can artists do to make sure they don't give a $500 piece and then learn that it sold for $75, thereby devaluing their work and contributing little to the campaign?  Is it possible to establish a minimum price?  what about offering a $1000 artwork  and agreeing to donate half the sale price to the charity? Is that sometimes done?

What are the advantages and disadvantages of silent and live auctions? And what about online versus live auctions?

If some in our audience are involved with a charitable organization or are artists looking to team up with a charity to organize an auction what are some guidelines that you can offer?


I’m awed by the resiliency of the human spirit, our ability to heal, grow, and re-create ourselves. This intention to live from the belief that “all things are possible in life” has freed me to follow my natural artistic impulses.  I hope to share this belief through my work, and with each person who interacts with it. -Marcelo Holzinger


Mixed media artist,  MARCELO HOLZINGER, joined by a diverse array of colleagues from around the U.S. and coordinated by The Eclectic Arts Movement (T.E.A.M.) and seepr services, is participating in an auction called No Boundaries Prosthetic Foundation to benefit Haitian children who lost limbs during Haiti's devastating earthquake last year. The sale of Marcelo's and other donated artworks will help with the purchase of prosthetics. 


This Sunday's show will feature a live conversation with the team of participants to learn what's involved in creating an event like this and getting it to efficiently serve its purpose. Altruism is certainly an essential ingredient, but what else does it take to go from A to Z?


Maybe you have a worthy cause you would like to assist through an arts event. Is an auction the best way?  What's involved? How do you go about recruiting participants, and what are the next steps? And then, when the exhibition venue is cleaned up and the money counted, how do you evaluate your success? These are among the issues we'll explore with Marcelo, T.E.A.M. administrator, NELSON DELGADO and LISA SILVERA, partner in see pr services.

Have questions about organizing an auction for a cause you care about?  Call 646.721.9843

T.E.A.M., The Eclectic Arts Movement

Based in Miami, The Eclectic Arts Movement (T.E.A.M.) is dedicated to exhibiting the work of artists from all parts of the globe. T.E.A.M. is an institution that focuses on new developments in painting, fashion design, sculpture, photography, architecture, performance art and new media. We are committed to showcasing art and artists that are relevant to diverse audiences and that contribute to the overall well-being of our society and the planet.
FAMILY, courtesy FotoKonbit 

FotoKonbit, co-director NOELLE THEARD will present another vital Haiti connection. She describes the mission and activities of the organization she helped to found and staff. They teach photography workshops in Haiti and the Diaspora, "to engage and empower Haitians to tell their own stories and document their community through photography." Photo Konbit then presents the photos both in Haiti and in the U.S.
FOTO KOMBIT, SeatedGirl 4
SEATED GIRL, courtesy FotoKonbit

"So, Haitians inside of Haiti, we want them to see these pictures, but... the international community, we want them to see these picstures too, because they really show a different reality, a different sense of what Haiti is like - very different from what we see in the news media."

Please tune in to 3-4pm on Sunday. (register if you like, so you can join the chat) You are also welcome to call in. 646-721-9843 is the number. Can't make it Sunday? Don't worry. Shows are archived.

George Fishman, producer/host
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Last week's show was ALL about mosaic art, and we had a great trio of guests to begin a review of the (SAMA) conference, including the issues involved in creating a juried exhibition - and even defining what a mosaic is! Thanks again to KAREN AMIPAMELA IRVING and BROOKS TOWER for their lively and informed participation as guests. That show is archived for any time.


        KAREN AMI, Frank




PamelaIrvingRussionDogAlexander 2

PAMELA IRVING, Russian Dog Alexander

BrooksFirstSeed 2


This week's guests comprise a range of artistic endeavors. DINORAH de JESUS RODRIGUEZ creates animation the old fashion way, painting and scratching on film cell by cell. Hours of painstaking work are required to create a few seconds of screen time. A recent project in Miami involved projection of her films onto a "screen" of trees in parks around the city. She'll explain.



French-born artist, ULTRA VIOLET (Isabelle Collin Dufresne), reveled in the juiced-up atmosphere of Andy Warhol's Factory scene during her youth, and was a model for a number of artists of that famous milieu in New York's burgeoning 1960s art scene, including photographer William John Kennedy, who will also be a Mosaic of Art guest. This was a time of great experimentation - both artistic and social -  but there were also numerous casualties. (Famous for Fifteen Minutes: My Years with Andy Warhol, is Ultra Violet's best-selling account of the experience). She will describe how her own orientation toward life and art took a sudden turn.


ULTRAVIOLET, Micheangelo

We won't leave mosaics out of the mix this week.  Two distinctive snippets from the SAMA conference provide lively views of the rewards of participation. Artist CAROL SHELKIN, recently featured in the book Mosaic Fine Art Portraits by Irit Levy and Pamela Givens, describes the challenges of teaching a workshop in stained glass mosaic portraiture within a compressed time frame.

CAROL SHELKIN, Beautiful Day

CAROL SHELKIN, Beautiful Day

Then JESSE WOZNIAK (Crystyle's brother; Kim's son) relates the experience of staffing the booth for his family's mosaic supply companies, Wits End Mosaic and, and meeting their customers face to face.


CRYSTYLE and KIM (r) WOZNIAK with Kim's Intersections

KIM WOZNIAK, Intersections detail

 Please tune in to 3-4pm on Sunday. (register, if you like, so you can join the chat room and mark the show as a favorite).

These conversations that I will air Sunday are pre-recorded, but if you would like to phone in during the show to comment on the interviews or your experience at the mosaic conference in Austin, please do so.  The number is 646-721-9843.

It's fun to catch the show live, but if you can't tune in, don't worry - the shows are archived.

George Fishman, producer/host

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By martin cheek, 2011-02-24

.... Yesterday was the third and final day of my advanced class at Dianne Sonnenberg’s Artisan Glass studio here in Austin Texas. I had to talk about Grout...they MADE me...even though I had  made it perfectly plain that I see grout as the equivalent to varnishing a painting. It became very clear that I wasn’t going to get away with avoiding talking about my LEAST favorite subject - so I gave a VERY thorough demo and everyone was satisfied. In future I must remember not to mention that I don't like grouting - or even talking about it - because it only makes 'them' more insistent that I should cover it!
Well – as we all know - revenge is a dish best served cold and on the way home Lynn was kindly giving me + 2 x other participants a  lift home. To avoid her embarrassment I won’t give Lynn’s full name except to say that her surname refers to - quote:

“A structure spanning and providing passage over a gap or barrier, such as a river or roadway”…and rhymes with FRIDGE.

Anyway Lynn  was driving along and resurrected the grouting 'debate' telling me how important it was ...
Meanwhile my lunch of Pecan encrusted Aki (fish) with Broccoli + 2 pints of unfiltered (that's cloudy to you and me) Wheat beer had kicked in...I let out an SBD ('silent but deadly'). About 10 seconds later Lynn whilst expanding on how the wrong color grout could RUIN a piece and blah - de blah - de blah.....she suddenly SCREAMED: "AAAAAGGGHHHHH....................SKUNK!" and wound up all the windows...she thought that she had run over a skunk!
I hadn't the heart to tell her that the stench was coming from INSIDE the car and NOT outside...but at least it had taken her mind off GROUT!

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 The 2011 Society of American Mosaic Artists conference in Austin, Texas has just concluded, but not everyone was able to attend, although a record number DID make it - about 450.


Austin Capital dome

 A few were busy outside; other members remained home in Egypt, Russia or Australia - even parts of the U.S.. There's always next year!


Austin Marathon

There's still lots to learn for those unable to attend and much to re-visit for those who were. There are thanks to extend; conversations to continue; artworks to review!

This Sunday, SAMA exhbition committee chair, KAREN AMI will join me LIVE to talk especially about a vital aspect of the organization's mission - its exhition program. Specifically, inquiring minds want to know about the guidelines that juries are given - especially those jurors whose familiarity with the mosaic medium is limited.


KAREN AMI, tour guide, with JANET KOZACHEK's Three Intruding Fanatics


Australian artist, PAMELA  IRVING, will be on the show as well. She was the conference keynote speaker and can discuss regional "antipodean" attitudes about the mosaic art medium and where she views its place in the art establishment - having traveled extensively and recently completed an intriguing and productive residency in Russia.



And we'll venture carefully into the emotionally-rich topic of "The Definition of mosaic fine art - who cares and why?" BROOKS TOWER is among the artists attending (and his case exhibiting), who find the topic of great interest and insufficiently addressed by the panel discussion that was convened for that purpose (and which I moderated).  The topic has generated both light and heat in subsequent online discussion on the Ning group, CMA.  I give praise and thanks to the panelists for their contributions, but agree there's more to be said -- and I offer a brief additional forum on Sunday's show.

"I will make this bald assertion. Every panelist there, and every attendee, has a working definition of mosaic in their head. They may be scared to state it. They may think that saying it out loud is ju-ju, or amateurish, or indicative of an inadequate art education, but every person there has one." -Brooks Tower




BROOKS TOWER, "art shirt" (not a mosaic)

BROOKS TOWER, Sub Lingua 2


Please tune in to 3-4pm on Sunday. (register if you like, so you can join the chat) You can also call in during the second half of the show. 646-721-9843. Images from the Austin conference can be seen on Flickr


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AMY KUPFERBERG began as a metal sculptor. "While fabricating an armature for another sculpture, I became intoxicated by the beauty and grace created from arc welding. In order to fabricate the armature to an exact likeness, I bent the steel and clamped it down directly on top of a drawing of the armature and welded the steel at the cross points. When I lifted the armature up and saw the marks that were left on the paper, I knew that something important had happened." A.K.


LISA SILVERA and CHERYL MOODY help Amy - as well as many other artists - find the appreciative audience of collectors and institutions that provide the "air" in which AMY can take flight. "So we do PR, branding and marketing for the contemporary artists whose work we're passionate about. I am in this collective and supported with Lisa Silvera and Christopher Hughes' see pr & artennae global art consulting services' brilliant brainstorming and marketing and with my contemporary art experience we put it together, and that's how we get the beautiful work out in the world." C.M.


Art History department chair at the University of Mary Washington, JEAN ANN DABB is an enthusiast of mosaics - past and present. But, as an exhibition juror, her sense of the medium is evolving. "If my working definition now includes a composition of separate distinct elements which having been combined into a larger matrix, then I've given up the notion of some kind of adhesive element and permanence and stability, so I think it's whatever the artist may want to use as their defining definition, and if they want to call it sculpture, installation or mosaic, I can be receptive to that notion." J.A.D.

JEAN ANN DABB, Imaginary Archeology

 DINORAH DE JESUS RAMIREZ creates animatIon the old fashioned way: marking on film, frame by frame. "When you hold a film in your hand it has a head and a tail. I can look at this (strip of film) and see movement in the same way that a composer can look at a sheet of music and hear notes  - a symphony. I exhibit them vertically because I want you to experience the language of film with the language that film speaks... It's like cells of time; they're like cells of time and there's 24 cells to a second of time in this machine, so when you look at this and count 24 of those little sprocket holes you can see how long one second actually is and what it looks like... This is a way in which humans have attempted to trap time and movement, and film in many ways is the attempt to solidify cells of time and cells of movement."  D.R.


After 30 years behind the camera and cultivating his market, PAUL MORRIS has the commercial side down: the corporate portrait, the romantic backlit smoke coming off a cigar, riding a helicopter to capture the money shot of golden light on a downtown high-rise,  but the artist's heart is in the landscape aesthetic he shares with his early 20th-century heroes: images captured on film - not digitally. Stone sentinels in a remote Scottish island meadow, a Mongolian horseman. He'll talk about it all.

PAUL MORRIS, Callanish Circle #2

Please tune in on Sunday, 3-4pm EST to the Mosaic of Art on Blogtalkradio.

If you register first on Blogtalkradio, you can join the chat room to comment.

Warmest regards,


If you've missed previous episodes, just click here to find links for downloading shows into your iPod or iPad.

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Contemptuous behavior

By Guillaume Brié, 2011-02-09
Locals wanted to move my mosaic of St.Dimpna (see photos), now in our cultural centre, to the church of St. Dimpna. It was approved by the authority for protection of monuments. Received e-mail of church council: "such piece in glass splinters does not fit in a church". Sad!
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Candace Forgea'

By Charles K. McDonell, 2011-02-04
Hi!  Everyone  I have been in contact with this artist. She is my first inspiration to do mosaics. I invite you to see her incredible work. Her site is Enjoy, Chuck.
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Torn Between Two Bobbas

By martin cheek, 2011-02-04
Whenever I am asked “How was your flight?” I am always reminded of the Duke of Edinburgh. The Duke had arrived in Thailand and on disembarking when asked this inevitable question.

“Have you ever been on a plane?” He asked the dignitary.

“Yes, Your Highness” came the reply

…. “Well it was like THAT!” retorted the Duke.

On long flights I am VERY keen to get one of the seats by the emergency exit which offers extra leg room. I am 6 foot 2 and I have weak tendons due to overdoing it on the stepping machine down the gym. I gave up exercising in the gym a few months ago – I found myself on a treadmill. The last long flight I underwent was to Nepal and when I arrived I found that I was unable to walk – it was my own fault – I had ‘vegged’ out the entire flight, preferring to watch the latest blockbuster movies rather than exercise. I had to get a Nepalese massage just to kick me back into action – which was extremely painful – not the floaty dreamlike encounter that I was expecting – the fact that it was carried out by a beefy Nepalese MAN did not add to this experience. I was determined not to let this happen again and went to ‘Body Balance’ class the day before which I thought might help.

The British Airways website was sending me round in circles – so after a 40 minute phone call to BA direct, I finally achieved my goal.

What I DIDN’T realise however was that the seat in question was one of the three ‘mother and baby’ seats situated at the front of economy. Thus when I got to my seat I found a baby lying on it and another on the floor where I was hoping to rest my long legs! Eventually they got themselves sorted and I found myself stuck between these two young mothers and their babies.

The one on my left was ENORMOUS even though she was only two years old. Her mother refused to put her in the regulation baby seat –insisting that she was too big for it and wouldn’t settle, preferring to perch her at a 60 degree angle on her lap for the entire 8 hour flight.

The toddler was understandably restless and every time I fell asleep, I was kicked back into consciousness – literally!

The baby on my right behaved perfectly throughout and kept smiling at me and waving – he was 6 months old and called Emil. I chatted to his Mom who was very interesting – she is about to finish her PHD in 18th Century Chinese dress. When I mentioned that I was from Broadstairs, she replied that her cousin lived there – her cousin being Ester who runs ‘Boho Rap’ where my daughter Mollie works at weekends. So that’s not even the six degrees of separation is it – more like TWO!

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