Julian Writes: The Day the Dog Arrived

There are days in one’s professional life which announce themselves with quiet inevitability: a meeting rescheduled, a kettle failure or an email sent too widely.  I have the lived experience of all three. And then there are days which arrive which are uninvited, unstructured and with a tail.

I noticed him first at 09:12. Not because I was looking, but because something – some subtle shift in the atmosphere suggested the presence of an observer not accounted for in the organisational chart. He was standing just beyond the glass doors. Still, composed and regarding us with what I can only describe as administrative curiosity.

A dog. Medium-sized, indeterminate breed although my grandmother might have referred to them as the Heinz 57 breed with eyes of unusual seriousness and the bearing of someone who had seen things and chosen not to comment. I assumed, initially, that he belonged to someone but this was my first mistake of the day.

At 09:17, the door opened – neither dramatically, nor symbolically but simply because Alex was bringing in a delivery and he brought the dog in with him.  Or rather, the dog entered of his own volition and didn’t seem to be following orders with no hesitation, sniffing or uncertainty.  In another world he might have been a viable contender for the doggy version of ‘Just a Minute’, the well-loved Radio 4 panel game but in this world, he walked in as though he had always worked here and as though we had been expecting him.

It was uncannily still.  He didn’t bark, beg or steal.  He just stood there in the centre of the office and looked at us, one by one. I felt, quite distinctly, and a touch unnervingly  that I was being assessed. Not judged – that would be too crude – but evaluated, gently, assessing my room for improvement. It was just five minutes before the chain reaction washed through the office.

Alex: “Whose dog is that?”

Clare (from reception): “Not mine, but he’s very polite.”

Paul: (did not look up from sketching) “He’s been here before.”

Maja: (sipping coffee, observing) “He has chosen this place.”

I found this comment unexpectedly affecting and had to hold back a sob.

He walked – not wandered, but walked – to the corner near the radiator, turned once, lay down and exhaled. He had made the decision to stay. Within thirty minutes, we had without any formal agreement entered into a discussion of what to call him. Suggestions included:

  • Biscuit” (Clare)
  • Shadow” (Paul, without explanation)
  • Invoice” (Alex, I believe as a deterrent)
  • Novak” (someone, inevitably)

I suggested “Atticus”, on the grounds that he possessed moral gravity. This was not adopted and we were left in limbo with a thus so-far unnamed dog.  It became increasingly clear that the dog belonged to no one in the NOP universe and this introduced a tension into the proceedings. Two schools of thought emerged:

The Adoption Faction (Clare, myself, increasingly Maja)

  • “He’s clearly comfortable here.”
  • “He chose us.”
  • “Look at his cheeky face.”

The Sensible Faction (Alex, though not without softness)

  • “He might be lost.”
  • “We should call a shelter.”
  • “This is not how employment works.”

Paul abstained, stating only: “he will decide.”

It wasn’t long (10.40 to be precise) before I summoned up the courage and approached him with care and respect. He opened one eye – just one – and in that moment I experienced something I can only describe as recognition. Not affection – not yet at least – but acknowledgement, as though he were saying: You are not entirely unsuitable.

By 11:05 he had become indispensable to us and us to him. By mid-morning, he had:

  • declined two biscuits (Clare, affronted)
  • repositioned himself closer to Maja’s desk
  • ignored Julian (briefly devastating)
  • accepted a cautious ear scratch from Alex

He had, in effect, begun to curate his own relationships.

By the end of the day, I had learned a lot and changed subtly, I thought, as a human being. We had not planned for him and we had not prepared for him. And yet, by 5pm, it felt impossible to imagine the office without him. There is, I think, a lesson in this, something about presence, choice and the quiet authority of simply arriving and remaining. Tomorrow, we will discuss what to do but tonight, however the dog has taken up position by the radiator, Maja has not asked him to leave, and Alex has not yet made the call to the vets, the PDSA or the waste disposal people of our managed office space. Which, in NOP terms, amounts to a form of acceptance.

Connecting Derby’s Museum of Making to contemporary artists: Paul Warren meets John Fineran

As well as Paul Warren’s series of prints entitled The Mill being on display at the Museum of Making in Derby, you can also get to see the work of one of Paul’s contemporarys in the same gallery, John Fineran.

John was Paul Warren’s art teacher at the Joseph Wright Secondary Art School, Gower Street, Derby, in the late 1950’s, a time when Bill Haley and the Comets were ‘rockin’ around the clock and Elvis Presley was dwelling at the Heartbreak Hotel. Paul says:

“As far as I remember I got on quite well with him. I do remember meeting him some time after I’d left the school and we eventually said hello but he did say that ‘one has to be a little circumspect when approached by ex-pupils’ but he needn’t have worried about me. He told me of an exhibition of his paintings being prepared at a gallery at Derby Cathedral. he’d called the exhibition ‘Happenstance’…I did go and the painting in the Museum of Making could well have been part of that exhibition…It had something familiar about it that clicked in the back of my mind and when I saw his name in the lower left corner my thoughts were confirmed though I may have seen the painting at another exhibition at the Derby Museum’

The Mill: 8 Giclee prints by Paul Warren

£70.00

A lively series of 8 figurative prints exploring mill life, industry and community through humour, character and conversation. Full of narrative detail and social energy, The Mill series combines historical reference with a bold contemporary style.

The eight Gclee prints are all of similar dimensions: Landscape view, H 400mm x W 500mm and the Portrait view, H 500mm x W 400mm.

The prints are for sale as seen and priced at £70 each – framed, glazed, mounted print (black frame, 20mm width x15mm depth) all with ‘neutral’ mount.

The Mill by Paul Warren

The Mill is a character-led series of 8 figurative prints that brings the world of industrial change vividly to life through humour, conversation and social observation. Each work captures a different exchange between workers, investors or townspeople, using expressive poses, simplified forms and distinctive colour to suggest the energy, tension and personality of mill life.

Across the series, Paul Warren explores themes of innovation, labour, trade, housing, textile knowledge and everyday community life. The quoted titles and captions give each print a dramatic, often witty voice, while the minimal backgrounds keep the focus firmly on gesture, interaction and narrative. Together, the 8 prints form a lively and theatrical portrait of a changing society, balancing local character and historical reference with a fresh contemporary style.

The eight Gclee prints are all of similar dimensions: Landscape view, H 400mm x W 500mm and the Portrait view, H 500mm x W 400mm.

The prints are for sale as seen and priced at £70 each – framed, glazed, mounted print (black frame, 20mm width x15mm depth) all with ‘neutral’ mount.

Paul Warren at the Derby Museum of Making

We’re delighted to announce that our long standing friend and illustrator, Paul Warren, is currently having his work displayed at the Derby Museum of Making.

His exhibition is entitled ‘The Mill‘ and was produced in response to an Air Arts call out in 2018. He says:

‘I’m pleased to see them being exhibited at The Derby Museum of Making; it’s almost a homecoming. I took a relatively light hearted look at the cotton and silk mill development along the River Derwent Valley. I imagined moments and conversations that may have taken place as production gathered momentum and employment began to bring in revenue and the mills became ‘the work place.’ A slightly theatrical glimpse of life back then.

The drawings are Giclee prints taken from iPad artwork. The iPad became my choice of medium in 2013 and I spend a lot of time  producing imagery that attempts to reflect a moment in the day to day activity  of people. I call my artwork ‘Momentism’

I attended the Joseph Wright Secondary Art School in the late 1950’s, though, regretfully, I didn’t pursue an arts career and since retirement from full time employment I’ve been playing catch up. In recent years, I’ve been associated with the writer and publisher, Dr. Nick Owen MBE, creating illustrations for his series of books, published under the NOP (Nick Owen Publishing) banner, has been quite an adventure and learning curve for me.

My answer to the question why I draw so much, is simply, ‘because I enjoy it’ but there is more to it than that and examples may be seen on Facebook, Instagram and Blogger..

If you’d like to meet Paul and have an introduction to his exhibition, please drop us a line here and we’ll arrange a time for a tour!

← Back

Thank you for your response. ✨

The Mill: 8 Giclee prints by Paul Warren

£70.00

A lively series of 8 figurative prints exploring mill life, industry and community through humour, character and conversation. Full of narrative detail and social energy, The Mill series combines historical reference with a bold contemporary style.

The eight Gclee prints are all of similar dimensions: Landscape view, H 400mm x W 500mm and the Portrait view, H 500mm x W 400mm.

The prints are for sale as seen and priced at £70 each – framed, glazed, mounted print (black frame, 20mm width x15mm depth) all with ‘neutral’ mount.

Julian writes: the Tennis Player Quartet Podcast. Episode 4: The Fantastic Confabulations of an Ageing Tennis Player

Right. Yes. The Fantastic Confabulations of an Ageing Tennis Player. The fourth volume. The “finale”. The “capstone”. The one where — and I think we can all agree on this — everything finally becomes… considerably more conceptual.

Now, I’ll be honest: I’ve always felt the quartet operates less as four books and more as an ongoing atmospheric event. A sort of… tennis-adjacent weather system. There’s narrative, of course, but it’s mainly pressuremovementsudden fog, and occasionally a goat.

Anyway. Hear the podcast. Here it is. See what I did there?

(Produced by the one-and-only Julian PS with the trusty support of Mork and Mindy down in the Podcast basement. Thanks guys! You’ve been… what can I say? Immense.)

Anyway. Just in case you can’t be dealing with a podcast, here’s the story as I see it.

The early books: a man, a racket, and… an energy

So in ConfessionsCourting Lives, and The Norman Conquests, Andy is, broadly speaking, a tennis player (except he isn’t – except he is – except he’s “Lord Andrew Murray” – except he’s in trouble – except none of this is confirmed.) But what is clear is that Andy narrates everything with the swagger of a man giving a victory speech while physically losing.

He tells you he’s in command. He tells you he’s adored. He tells you it’s all going brilliantly. And the reader is expected to do the decent thing and nod politely while the walls fall in. There’s also a coach (possibly a bird), a woman who is (or isn’t) Serena Williams, and a general atmosphere of “I won that match spiritually.”

Book Four: screenplay, drones, and what I can only describe as “admin”

Then we arrive at Volume Four, which makes a bold artistic choice: it switches into screenplay format, which I assume is because Andy has finally gone professional and Netflix are now involved. That’s certainly the vibe. Suddenly there are cameras. Drones. “Monitoring.” People talking as though Andy is both a person and a piece of equipment. It’s all very modern and, frankly, quite unsettling, but in a premium way. And the important thing is: Andy is no longer narrating. Now, I’m told this is because the book is exploring “external surveillance” and “dispossession” and “care regimes” and so on. Possibly. Or possibly Andy has simply delegated the narration, as champions often do.

The “twelve years” thing (apparently significant)

There’s also an absolutely classic moment where Andy believes he’s been in a hospice for a weekend, after a minor knee injury — which sounds reasonable enough, we’ve all iced a joint and lost a fortnight – except it turns out it’s been twelve years. Twelve. Now, do I think the book is being literal here? Hard to say. This could be:

  1. a comment on memory,
  2. a comment on time,
  3. Brexit,
  4. metaphor,
  5. a typo that nobody caught in proofing,
  6. all of the above.

But the key takeaway is that Andy has missed major global events, which is either tragic or enviable, depending on your views on morning news.

Sedation: narrative editing, but with syringes

Andy’s “confabulations” (a word the book uses a lot, presumably because “lies” felt too on-the-nose) are repeatedly interrupted by Mrs Carter, who administers sedation. Now, one might interpret this as the system silencing him – his story being chemically curtailed – a bleak commentary on control and autonomy. Or, equally, one might interpret it as: Andy is simply too powerful as a narrator, and the staff have to keep him under a certain decibel level for the other residents. It’s difficult to be sure.

The ending: Raducanu, waived bar bills, and… closure? maybe?

Finally, Andy is greeted by young tennis stars (including Emma Raducanu), and he’s told his subs and bar bills are waived. Now this is clearly either:

  • a triumphant return,
  • a final hallucination,
  • a metaphorical absolution,
  • a fantasy sequence,
  • a customer service gesture,
  • or simply the author being kind at the end.

Personally, I read it as the universe finally recognising his greatness. Because that’s what literature does: it rewards belief.

In conclusion (and I do mean that, because I have a meeting)

So yes — the final volume “doesn’t abandon him” but “no longer belongs to him”, which I interpret to mean the narrative has matured beyond Andy and is now operating at a higher organisational level. A bit like NOP, frankly. Andy begins as the author of his own myth. He ends as a man being documented. And the quartet as a whole is a powerful reminder that tennis is rarely about tennis. It’s about identity. And paperwork. And occasionally drones.

(Can I go home now? Please? Pretty please?)