Well, Operation Concrete is done now -- I drove into London to pick up my work yesterday. Although I didn't sell anything, the feedback I got was tremendous, especially from the drunk stragglers at the end of the launch night, because I could be pretty certain they weren't capable of bullshitting me. I've also learnt some pretty important lessons:
1) Framing is expensive, but worth doing right
2) Always have business cards on me
3) Always leave contact details at the gallery
4) If possible, when hanging other people's work, make sure it's the right way up... I think I may have hung one of Holly's watercolours upside down...
5) The sentence 'I was really into giraffes at the time' when used unexpectedly can mark you out as a freak.
Thanks have to go to Tori Treasure, without who I would have probably priced all my work at about a fiver. Also, her coverage of the night is excellent.
Here are some photos from the launch night of Operation Concrete, taken on my trusty N93.
Part of my section, with 'Corridoring' sat on the floor, waiting for the frame to re-set after it fell off the wall.
The 'Anger' section, featuring my picture 'Mist Of Blood And Rage', a sound pod which played 'Germany Germany' by Rue The Day and the exceprt from the novel that both the picture and image were based on.
Benjamin Phillips sat in front of Bill Talbot's work.
Some of Benjamin's work -- unfortunately, someone came in during one night of the exhibit and lifted one of his etchings, which is shocking.
Richard Galbraith, reading from 'Concrete Operational'.
Jack Clothier, of Alcopop Records, reading from 'Concrete Operational'
My friend Kathryn and I, posing infront of 'Corridoring' at the request of a wonderful, if slightly inebriated, stranger. The other works I had up were: 'Mountain, Sea', 'No Cure For The Overkill' and four pages from my comic 'The Intercorstal'.