My art stock and materials were quickly moved. But the large formats did not fit into the car. This, with no larger vehicle available, was a problem. The distance
on foot was manageable, only about 15 minutes. I waited for a dry day, stacked the large paintings on to a trolley which I pulled behind me. It was tricky maneuvering some of the narrower
sections bewteeen hedges and street lights but after two trips I had wheeled everything to the new premises.
1
My studio window is the very small one just above the shop window. I've called my workplace "atelier im halben" which, roughly translated, would be halfway-up studio. (In German it works
much better, it being easier to make nouns from adjectives.) A closer look at the window, which doesn't really fit the facade, and a subsequent visit to the rooms, explains the name. My work
space is sandwiched between two storeys, the ground and the first floor. It is, a somewhat grand term, a mezzanine.
I was doubtful at first whether I would get used
to the low ceilings, at 170 cms just short of brushing it with my hair. Number 46 housed a coal merchant. After bomb damage in the war, it was rebuilt in 1946 on the same floor plan, the
mezzanine being kept, perhaps, to resume the function it is thought it might have had from the outset, file storage. The small window is a poor source of daylight, but the view out of the back
window on to the yard (photo left below) makes up for it.
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