Talking to Paul Newman, Coordinator of Somerset Art Weeks

Somerset Art Weeks is a key event in the cultural calendar of the county and I am delighted to this week be speaking to Paul Newman of SAW (Somerset Art Works) who co-ordinates the entire event. After a few tricky years due to... guess what... COVID, the 2-week long event made a successful returned to the towns and villages of the county in September 2022 and work has already begun on the 2023 edition. Paul and I chat about the value that artistic endeavour brings to artists and their audiences and he asks the Somerset community to get behind the hugely diverse range of creative individuals and groups that are flourishing county-wide.  Oh yes, and we compare tasty treats too!

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Transcript

Lynne O'Halloran  0:04  
Hello and welcome to The Slice. Each week I'll be eating a slice of something nice and talking to the people who make living in Somerset great. My name is Lynne O'Halloran and my guests come from all walks of life, but they all share one thing in common, a passion for the county of Somerset, and a desire to make it a great place to live to work or to visit. If you feel the same way about Somerset, follow The Slides on your favorite podcast player and give yourself some time to listen, relax and discover more about the people who are making Somerset life simply great.

I'm joined today by Paul Newman, who is the coordinator for Somerset Art Weeks, the annual county wide Arts Festival. Welcome to The Slice, Paul. 

Paul Newman  0:54  
Thank you. Thanks for having me. 

Lynne O'Halloran  0:56  
Somerset Art Weeks 2022 took place in September. Have you had time to reflect on the event? 

Paul Newman  1:04  
I have finally Yeah. And I think after the last

I have finally, yeah. And I think after the last two, three years, this feels like the first time that we've had a proper chance to really absorb everything that's been happening and what's happened in that year's event. I think we've had to take stock of the last two, three years this year, but yeah, we're doing that now. 

Lynne O'Halloran  1:13  
And so is the feeling that it's been a positive experience? Because like you say, I imagine during the COVID pandemic, things were a little tricky to quite know how to organize yourselves and what was possible and what wasn't?

Paul Newman  1:34  
 It was yeah, I think it was mainly Digital Open Studios events that we ran. And obviously we were just doing as much as we could during a time when it was just impossible to predict anything. But this year was the the alternate year,  the event year, so this  year had a focus on exhibitions and events and group shows, and also Somerset Art Works supported commissions and bursaries. And it felt like the event was really coming back. So we did The Guide again, we've got a new Art Weeks app that we've introduced in the last two or three years, and much more information on the website. So we've got this sort of new hybrid way of doing it. But I think a lot of people were very keen to see the guide, you know, it seems completely central to the event. So we brought that back. And we had loads of fantastic commissions, a lot of churches featuring as venues this year, as well as commissions in places like the Somerset rural life Museum and Glastonbury and also Abbey house in Glastonbury. So it's sort of a return to how things were previously but with all the new developments that we've worked on in the last two, three years.  I went out and visited about 50 venues so about half of them, during the event and it seemed that most people were just really enjoying themselves really glad to see things back. And I think that was really uplifting. I think, you know, we've all had such a difficult time and that's continued this year, there's still uncertainty out there. But I think it almost felt like people have gone, we've had enough, we just want to go out and enjoy ourselves and see the art and be out doing what we used to do and celebrating it in the way that we are accustomed to each year. I think things are looking really good for the return of Open Studios next year. 

Lynne O'Halloran  3:13  
Excellent. So before we kind of talk about you know how the whole idea of Somerset Art Weeks began and as it has evolved, are you going to reveal to me what your chosen slice of cake is? 

Paul Newman  3:28  
Oh the cake, yeah, well I'm a bit of a sucker for Bakewell Slice or tart, a whole tart is acceptable. 

Lynne O'Halloran  3:36  
Where did you go, is it a local bakery? 

Paul Newman  3:14  
Well, I went to the Pear Tree deli here in Sherbourne they do a really lovely little individual cake, but I also quite like, this is how sad this gets, Chapel Cross tea rooms over in Somerset, because we're just inside Dorset, and funnily enough they are sometimes an arts venue and they take part in Somerset Art Weeks and Rose who runs that also does the most amazing bakewell tart is just incredible. And actually I got one for my birthday once as a backup cake believe it or not, in case the main cake failed ,but I'm happy to report both cakes were fantastic.

Lynne O'Halloran  3:46  
How can a cake fail?

Paul Newman  4:15  
My partner was making a Victoria Sponge and she really worries about her cake baking skills, but they're amazing and you know I got two amazing cakes for for one birthday!

so

Lynne O'Halloran  4:28  
So is it, obviously it's the almond flavor that you go for, or is it the, well there is usually a nice thick layer of icing on top of a bake well!

Paul Newman  4:36  
 Well yeah, all of it isn't it?. It's the almond it's the icing it's the jammy filling. It's all of it.

Lynne O'Halloran  4:45  
I've only made a bake well once and it was a Christmas one which is in one of Nigella Lawson's cookbooks. So you know it uses like a cranberry jam obviously for Christmas. But yeah, it was heaven. Does it have feathered icing on the top. I think that's always a test of quality

Paul Newman  5:03  
Do you want me to just hold it up just to prove that I've actually gone through all this effort?

Lynne O'Halloran  5:07  
Oh, yeah. Oh yeah, that looks good. Yeah, it looks very plump.

Paul Newman  5:13  
It's just the right size for afternoon tea. 

Lynne O'Halloran  5:16  
Absolutely. Well have a bite and I'll tell you what, which one I've gone for, which is also one of my absolute favorites that you don't see very often. 

There's a bakery near my mother's house called Upper Crust and they do Florentines so it's chocolate and almonds and raisins and cherry, and just a chewy, delightful mouthful, which I'm going to go for. 

Paul Newman  5:52  
Well, actually, I've got to admit Florentines weren't my favorite. But only last weekend, we had one brought over that was so chewy and chocolatey and almondy and everything. It was absolutely amazing. So I might be turning more to those.

Lynne O'Halloran  6:09  
I suspect they're the kind of thing that you don't like when you're a youngster a bit like a bakewell actually, ort of a grown up taste.

Paul Newman  6:16  
I'm a bot fimmu about chocolate in puddings as well. I've got a bit of thing about it.  I love chocolate, and I'm just quite happy to eat it on its own. When it's put in puddings, I find that a bit, I don't know, I'm a bit funny about it. But this Florentine it was like, the chocolate chunks and they were were amazing. I have to find out where it was from. 

Lynne O'Halloran  6:36  
Yeah, so your bakewell, I'm guessing you must have had it before from the the deli you mentioned, it's not going to be your first try out isit? 

Paul Newman  6:46  
 This is a 10 today, it's all good. Sort of doing what it needs to actually been really good lately. This cake is sort of feeling especially naughty. 

Lynne O'Halloran  6:56  
Is it ?

Paul Newman  6:58  
Well I knew this was coming, so I thought Ok,

Treat yourself why not? I mean, that is one of the things, yeah, that is one of the things that I've found with the podcast is, you know, having to find and then eat cake every week. You know, which is not ideal, but you know, who cares? I'll have one more bite and then we'll we'll we'll crack on.

It's a tough job.

Lynne O'Halloran  7:23  
So nice. Oh, good. Well save a piece for after the show. So you can have a little, little relax before you move on to whatever you're going to be doing next. And just tell me a little bit about Somerset artweeks, it's kind of history really? How long has it been in operation?

Paul Newman  7:23  
Well it's been going since 1994, which was before my time of being involved with it. But actually, when we did the silver anniversary, in 2019, we did a bit of looking back at the first guide, which was sort of like a fold out map and listings. And then the event has obviously evolved, as all these events do, since then. And Somerset artworks is now a charity. It's also just re secured Arts Council England national portfolio organisation status, which means it can plan ahead and work on projects and commissions, bursaries and community work for another three years, and then say, yeah, one of its main things that it does is artweeks as well. And a few years ago, that changed to an alternating focus. So one year you get Open Studios. And then the next year is about exhibitions and events. So the idea is that something is a bit different is done in the alternating year. It gives the artists members and other invited artists an opportunity to present their work in a different way. So I as an artist myself feel that that's a really important strand to what SAW does, I think enabling local talent to think a bit more critically and creatively about how they present their work and collaborate with other artists or curators that's really important. So I think it's a really strong event. I mean, that's not to say it dosn't needs some revisions, after what's happened the last two, three years and we're now looking at that. But I think that it's a certainly a very popular event in Somerset's cultural calendar. Yeah, I'm really, really proud and pleased to be part of how it's organized and pulled together. 

Lynne O'Halloran  9:08  
So basically Somerset art weeks, the fortnight or so of exhibitions and Open Studios is one strand of what Somerset art works delivers across the county. Have I understood that correctly?

Paul Newman  9:45  
Yeah, perfect. Yes. And there's other work that the team do throughout the year around education, community, around projects, support of artists , support and development, and that can be things around artists creativity, but all also I think recently, we've started to look a little bit more at the working lives of artists as people who are primarily self employed. And I think the aims of the organization is about raising that quality and ambition of artwork that's seen and experienced in the county. But I think at the moment, it's not just about how it's creatively realized. It's also about all the other challenges that artists have to face in order to survive and make that work and bring it to an audience. 

Lynne O'Halloran  10:28  
So how would you sort of describe the kind of mission of Somerset artworks, then as an organization?

Paul Newman  10:34  
I think it's partly what I just mentioned, it's about raising the quality and ambition of art that is produced and seen in the county, it's also about doing work with communities and supporting opportunities within those communities, working with education establishments, working with younger artists and audiences, and then also bringing that , ake it accessible to a diverse audience within the county and beyond. So I think it's ra eally great thing where we've got a really amazing creative community, in the county. And it also attracts in artists from outside the county that we show in the exhibitions and event year. So it kind of looks in and also looks out at the same time, if that makes sense.

There are other things, there's all sorts of things we do as well, there are online courses and workshops. And there are other projects, and showcase opportunities that crop up on odd occasions throughout the year. So although probably publicly artweeks is the thing that we're most known for there are all these other things that the team are doing to support artists and what was communities throughout the year as well. 

Lynne O'Halloran  11:50  
What do you think has been the, you know, some of the sort of big achievements in recent years? I mean, obviously, surviving COVID is a fairly major one for for most organizations, I think. But, you know, are there things that have been achieved in the sort of last five years or so that are particularly notable? 

Yeah, I think well, yeah, to reiterate what you just said, just surviving and still being here, and bringing things back feels like quite the achievement. But I think prior to 2020, in 2019, we hadthe silver anniversary. So that artweeks event was fantastic. There were so many things taking place, really ambitious events. And then I think there are other things, some of which were before my time with Somerset artworks, which has been the last six years. So I think something like the Great Cranes Project, that was something that I was aware of before I joined Somerset artworks, but that was a really great example of the organization working with communities, thinking about education, working with wildlife organization partners, and mixing working with other local communities in order to realize a project that I think had a really important message behind it. And there were lots of things around, you know, the sort of marriage if you like of art in ecology, which I think is something that Somerset artworks is particularly good at doing. So I think being a mainly rural county, a lot of our artists are thinking about nature and environment and those sorts of issues. And especially given you know, where we are now with the climate emergency.  I think I was reading something the other day, and I think a lot of artists will know this, but I think the ability of art to translate ideas and communicate things that are maybe important or urgent, I think we're in a really good position to do that. To be really be involved in those sort of conversations about the natural world, and you know, the threat that it's under, but I think maybe in a way that doesn't lecture people too much, but just brings them in in a gentle way and encourages them to engage with and embrace those conversations,

 Yeah, I guess you'll sort of you have the opportunity to engage on a sort of a, you know, emotional sort of sensual level, rather than just an intellectual or academic level. 

Paul Newman  14:08  
It is and I think in that respect it's quite successful one, I think the only issue you sometimes get with art depending on where it's displayed and that whole kind of gallery environment,can sometimes be off putting for some people because they're a bit intimidated by the art or about the art world, those sorts of things, which is completely understandable. But I think, you know, we as an organization, try to break that down where we can and that's the great thing about Art Weeks events is that people can go out and see the art in all sorts of locations, discover areas of Somerset that they maybe wouldn't have known about, and just go and see who's in those locations or who's been working there over the years and understand them in a different way. So there's a, I guess there's an interpretive element of it that comes along. Sometimes it is just, you have art, you have an old building, you have a partner organization, you know, a wildlife charity or preservation or Heritage Trust, and those organizations working together can create a new sort of understanding or something different that engages that diverse audience. We've worked on all sorts of projects, in all manner of places. But I think some of them maybe only appeal to certain audiences, for whatever reason. So I think something like that the Great Cranes project just reached across a very diverse and varied audience. And I think, yeah, the work that was done within the schools and the communities. I think that was a great success of it as well, it was something that yeah, I think you could see, even afterwards, it obviously caught and fired people's imaginations. So just the fact that these birds were coming back, and it kind of changes people's perceptions. But I think art has that ability to inform and educate as well.

I mean, anybody can take part in Somerset art weeks. I suppose really,thinking about studios, they do tend to be older artists. But we work with a lot of schools and colleges, and they will feature as venues during the event. So previously, we've had places like Queens College in Taunton, or Bruton School for Girls, we've also recently had Holyrood Academy. and they've created exhibitions, which they've shown in Chard library. So we've also had a partnership with the library service. So that's been a way I suppose that a lot of younger, pre sort of 18 19 year olds, you might say, have been able to get involved. So Becky Swain, who's our education officer, she does a lot of work with the Priorswood community in  Taunton. So there'd be a lot of things happening there at Priorswood Park over the summer. And we work in other locations as well. But of course, as everything, you know, it just comes down to a question of capacity. But yeah, we're always open for engaging with schools and colleges, and encouraging supporting younger people to come through and make art and some of those, there is that thing where people will leave the county, and they'll go and seek work or education elsewhere. But I think we're becoming more aware and in tune and aware of the need to try and retain some of that talent in the county by providing opportunities where we can.

Lynne O'Halloran  17:27  
It must be so inspiring for a youngster to have their artwork on display for the general public, that's must be such a amazing thing to happen, that to be able to provide that opportunity to youngsters to make them feel, you know that art is something that is appreciated, and that their endeavor is recognized. You know, I think that's, that's excellent. 

Paul Newman  17:50  
Yes, it's always really lovely to see that. And I think as well as you know, children get older and make choices and think about where they might then be able to take those careers and not just as artists, but within the arts world and the other things that exist around here, because there are a lot of things that I know from my experience at college that didn't get talked about so much. But if I'd known at the time, it might have encouraged me to be more confident in going straight into the art world when it came out of college rather than coming to it, you know, leaving it for a bit and then coming back to it later in life. So think it's really important as an organization that we can make younger people aware of the ways into the art world or opportunities around creating and being around art and artists. And because there's all sorts of other things around it, which I've certainly learned by doing this job role.

Lynne O'Halloran  18:40  
I was talking to Richard Holt from CICCIC in Taunton, which is a, you know, a creative innovation center and he was sort of saying the same thing, really, that we need to find ways to educate and prepare young people to be not just say, the artists and the creators, but actually the people that you know, support and sustain that industry, so strategically or whether it's management and marketing. You know, there's a whole host of opportunities that we need young people to be getting involved in, in order to make the artistic cultural life of Somerset thrive. 

Paul Newman  19:18  
Absolutely. And those opportunities are out there. I mean, some of them, they, I suppose I'm generalizing here, but a lot of them might only exist as part time roles, but in some ways that works quite well for artists because they then enable you to allow a bit of time making your work,but then also thinking about your other kind of business skills that you can accumulate that help you run your own business and then use to promote your own artwork. If you understand how that works, I think it actually gives you a better chance as an artist. I think we all have that thing, I certainly did growing up, where you kind of think you'll just make the work and then somehow it will magically get out there that somebody will stumble across it. And of course it's not like at all. I think art has always had this kind of myth that it is just produced, it's appreciated for free unless somebody actually decides to then want to buy it. So there's lots of conversations and discussions to be had around how art is consumed, and how it should be properly valued.

Lynne O'Halloran  20:15  
Are  those the sorts of things that you've learned and been able to bring into your own practice as an artist.

Paul Newman  20:20  
Yeah, I've learned so much about just so many different things around curating, you know, because curating isn't just about how the work looks or when it's on the walls, or how you've researched what an exhibition should look like, thematically, it's around how you talk to people, your administration skills, about holding information, about making sure it's project management, it's things like that, really, I mean, maybe not, you know, on a huge level, although it is with the whole weeks events, that is pretty big, But in terms of individual smaller shows, you still need that kind of organizational skill sets, maybe in terms of how emails are diseminated, how you're storing information in a spreadsheet. So some of this might sound really boring to anybody listening to this, but they're quite essential and useful skills to have. And of course, then using it to run the backend of your business. There's that as well. But I think, some of the things that working for SAW has given me obviously, that network, that meeting other artists and arts professionals, I've had access to that and that's been really wonderful, you know, I just really love learning.

Lynne O'Halloran  21:42  
What do you think it is that Somerset Art Weeks, you know, how does it benefit the people of Somerset would you say? 

Paul Newman  21:48  
That's a good question, some of it is what I said earlier, one the one hand it provides a great reason to just go around and nosey around the county and go into places and locations that you wouldn't do previously. And that's always a joy to do that, just to kind of, you know, we know a lot of people actually booked time out, they booked holidays down here to go out and enjoy Somerset, and discover all these things that are happening. And artists, I think they're so good at telling those stories of their place, and location, or their own experiences, there's always something to learn from visiting an artist in a studio, or seeing a group show or exhibition. And I think art is always mainly inspiring. So I think, you know, whenever I go and see art, whether it's in a studio or talking to an artist or an exhibition, I've always got questions afterwards, it's always making me think about things, it's always inspiring me with my own practice, or to maybe look at the world in a different way. So I think a lot of visitors and audiences can get that from it as well. And I think especially after this year's event, just seeing the hope that it provided. That was really wonderful to see, you know, the theme for this year's artweeks was sanctuary. So we did have a lot of people that were kind of reflecting on what had happened. And there was a sort of slightly more, I guess, a slightly slower pace or feel to this year's event, as people were sort of working out what happened and how things were coming back. But I think being in this beautiful county and appreciating everything that it has to offer, I think the arts are really good at interpreting that. So I think audiences just have a really good way of yeah, maybe seeing things that happen in the county in a slightly different light. And, of course, it's all over the county as well in all the different areas. So in most pockets of the county, there's something to go and see and experience, and whether it's just looking at the work and appreciating it just on its own visual terms, or whether it's talking to the people who have made it. You know, I think that's another thing with the event is that you get to meet the people behind the work, and find out why they've made it. And I think some of those being on the other end of that I find as an artist, those conversations are always really rewarding and make you then think a bit more about why you're making the work and how it's coming across to people.

Lynne O'Halloran  24:03  
Yes, I mean, I took the opportunity to go up to East Quay in Watchet , which I kind of knew that things have been going on there, but I hadn't really, I guess the reason or the opportunity to go up and visit and I was absolutely astounded, really by what was going on there. I mean, it was so it was so vibrant, you know, and there were so many people, which of course was supporting the, you know, the cafes, and a really fun way I guess for people to get out and about and  experience the county in a different way.

Paul Newman  24:36  
Absolutely. There was a project called Stepping Stone, which was in an old quarry, there were different installations. And I think we had one day where we went out and saw one of the quarries I think was fairy cave we went to and so we saw artwork in this quarry which was just incredible how it was interpreting the space and responding to it. And then from there we drove to Breane Down walked along to the end of the down to the fort and saw another installation in the Fort. Then back to the car, and then drove down the M5 and we ended the day funnily enough at East Quay or Contains Art as it was known then. And it was great it was just these three different Somerset locations in one day with some amazing art and you know, think we then stayed for fish and chips in in Watchet, it was a great day out. Yeah, the event can really get you out there. And, you know, I've discovered some things I went in the, I think the Fish House, The Abbots Fish House at Meare, there was a an exhibition there about four years ago by Lottie Scott. And I'm driving past that building loads of times but never been in and then went in and got to see it and saw some art in there, that was making sense of that space and, and you know, some of the materials like peat and charcoal that we might associate with the levels. So you get things like that, that are quite interpretive. And again, like I said, you know, help you see the county and its buildings and locations in a different way.

Lynne O'Halloran  26:01  
It really is a county wide experience. And I guess, given the nature of Somerset, that must pose quite a lot of challenges as well. So what would you say are the main challenges that you face, you know, when sort of curating Somerset art weeks?

Paul Newman  26:17  
I think it's just really keeping it all on track, you know, you've got your production timeline, and it's trying to stick to that. So you're trying to get 1000s of copies of guides on press by certain dates and get that distributed, you're trying to make sure that all the artists know when things are going to happen, and what they need to do in order to get the most out of their venues and taking part in the event. And then of course, it's letting the public know that the event is coming. So I think those are the two main things, it's supporting the artists and ensuring that they get more out of taking part in the event. And then I think the the ongoing challenge is always to let as many people as possible know that the event is coming and how they might want to come and engage with it.

Lynne O'Halloran  27:14  
So in 2022, then, how many artists were involved? And how many kind of exhibition spaces?

Paul Newman  27:22  
So we had 109 venues. But we also had a really packed events program. So normally, we have events, workshops, talks, walks around Art Weekss, this year, we had a lot more and we made much more of that program. But both events, whether it's open studios, or exhibitions and events year, those have about 300 artists in them.

Lynne O'Halloran  27:49  
That's a huge number, isn't it?

Paul Newman  27:51  
Yeah, there's a lot. I mean, our membership is over 400. So you don't have every artist taking part in art week, some are members for the other benefits that we offer. And I think we've managed to keep the momentum going. So we're in not a bad situation as we go forward with all of this.

Lynne O'Halloran  28:08  
That's good to hear. What kind of things do you think, need to perhaps change within Somerset, or within the county to sort of help the arts and the creative sector thrive more?

Paul Newman  28:20  
If I can speak on a personal level here that I see how the arts are challenged and I think underfunded. I think that's a thing that's been happening for a few years. But I think in terms of more, in terms of SAW, and the work it does around it's charitable objectives, more support there will always be welcome. So whether it's sponsors around the artweeks event, that can always make a big difference. Yeah, I mean, I think a lot of people are under pressure at the moment, aren't they? And a lot of people needing extra support. So I suppose it's that thing that some people might think, Well, why is art deserving as well, but I think the ability of art to inspire and inform people and change people's lives, you know, it can do that. It has such an important role to play in all sorts of other areas as well. You know, everything you look at has been designed by somebody. And I think that that appreciation, and reminding people of that that feels quite important. There's some amazing creativity here in the county, and people can maybe focus more locally and appreciate what they've got on their doorstep. And I think that's something that we all get in lockdown. We have this thing, don't we, where we we want to travel, we want to go and see things further afield, but there's so much on our doorstep. And I think maybe support can come that way as well. I think there's that whole thing around how arts and art work and artists are valued and appreciated. I think we expect to maybe walk into the gallery and just see artwork for free. So what happens when we say well, would you mind sort of donating or paying a little bit to support that? I think that's always a fear with artists, once we start to do that, we then might alienate people, but I think we have to find other ways of asking for donations or just Yeah, asking people to appreciate what talent we've got here on the doorstep.

Lynne O'Halloran  30:05  
So it's a sort of a call to arms for people to, to get out there and experience and see the diversity of art that there is in the county.

Paul Newman  30:15  
Yeah, the message is about letting people know that that community needs your support more than ever, at this time, Just saying that artists, you really do need your support. And that can come in lots of ways as well. So it's not just about walking through the door and purchasing a piece of art, it could be just taking interest in artists career because that can take a while to build and for them to acquire an audience. There's lots of other ways that artists can feel supported other than just through financial means obviously, the other means don't alwyas pay the rent!

Lynne O'Halloran  30:55  
So next year, Somerset Art Weeks will be an open studios event, have I got, is that correct?

Paul Newman  31:02  
That's correct, yes. So we'll revert back to Open Studios next year. So we had two years of Open Studios in 2020, and 21. There's no plan to change that model at the moment. But I think a lot of our work is around the support program that we provide for members. So if we can strengthen and diversify the support that we give to members and make sure we're giving them the right support at this time, then hopefully, we keep that community together. And then I think if we do that, and help artists in their own working lives, then when it comes downround to putting on an event, like Open Studios, we should then get better content from the artists. So it's sort of helping them to help us in a way, but also, it then goes back to them for whatever they're doing throughout the year. I think that's the thing that I've been quite interested in as well over the last few years is that we're working on an event that runs for 16 days, every autumn, that involves people who  are making work all year round. So how do we do things that create other opportunities through the year as well without diluting what we do during Art weeks? So I think there's a move towards supporting members in slightly different ways, maybe do more workshops, then going back to having get togethers more frequently. Obviously, that's been a bit difficult in the last two or three years. So I think there's that kind of rebuilding of that community and then I think also in terms of the event, it's an opportunity for us to now re-engage with sponsors and advertisers and supporters, because that's been pretty tricky the last two, three years as well. So there's that kind of rebuilding of those other networks as well, which has been, it's been quite hard at this time. But it feels like we've got a bit of breathing space now in which to do that and replan over the winter. And then we launch again in early 2023.

Lynne O'Halloran  32:50  
So overall, you're feeling quite optimistic?

Paul Newman  32:53  
We've already been having conversations with people about being involved next year. I think it's taken this year for that confidence to return and we've had, you know, we've still had a very shaky year with other world events and things you know, here at home as well, but it feels like, I'm touching wood here, but we've had as many things thrown at us as we possibly can and we've come through them so you do sort of think next year has to be, has to be better. We're still here, we've learned all these things, it's taught us an awful lot. I do feel confident I do feel very optimistic. Only because things cannot be any worse.

Lynne O'Halloran  33:29  
Absolutely. So I mean I can wish you all the best for planning for next year's events.

Paul Newman  33:36  
Thank you very much Lynne thank you so much really enjoyed it

Lynne O'Halloran  33:45  
Thank you for listening to the slice the show for lovers of Somerset where I talk and eat cake with the people who make living working and visiting this county great. If you've enjoyed the show, please tell everyone you know help others find out how fabulous Somerset is share episodes or share the Sliee on social media. If you know someone who is making life in Somerset great and who likes to chat, let me know message me on Instagram or Facebook. Thank you to Pixabay for the music.

Transcribed by https://otter.ai