What was it like showing his work over the years? Was it quite a collaborative process?

Only to the extent that Mark was a great letter writer before the age of email and texting.

Only to the extent that he kept himself well informed.

We would talk on the phone.

No, he would choose what he was going to show.

And that, I have to say, Polina, is actually how I usually work with the artists with whom I represent.

We know in advance a year or two that they've got a date on the programme, a show upcoming, and I leave it predominantly to them to make the calls over what work is ready to leave the studio, what work's therefore complete and what work they'll show in Christchurch.

How would you describe the changes that have happened over the last few decades for dealer galleries? And what have you seen in your time?

young people these days, there's debt everywhere.

When I went through University of California five years, it was fees paid.

Difference.

Yeah, it's a huge difference.

And I'm just mindful of the fact that young folk, it's much harder to start these days for a whole variety of reasons.

But you do have to be brave.

And the journey of a gallerist is not that far different in a funny sort of a way from that of an artist.

LAUGHTER What grabs you? What sort of compels you to take a piece of