He had backed the bluesman Albert Collins, as well as touring and recording with the former Cream bassist Jack Bruce in the mid-Seventies as part of a stellar line-up also featuring the jazz pianist and composer Carla Bley and guitarist Mick Taylor, who had just left the Rolling Stones.Gary had kept busy throughout the Eighties and was justly considered one of the best drummers in the world. But the Little Girls Understand and released in 1980, only sold a tenth of that amount. By the time the Knack issued Round Trip, their third album, at the end of 1981, it barely made the Top 100 and they broke up. Propelled by one of the most recognisable kick-and-snare drum intros of all time, the power-pop anthem "My Sharona" topped the US charts and took the new wave band the Knack around the world in 1979. With their white shirts, skinny black ties and catchy songs, the group looked and sounded like a throwback to the heyday of the Beatles and became the epitome of the short-lived, radio-friendly, post-punk genre, alongside the Cars and Blondie.

"The power and effect of prehistoric monuments is to trigger memories of belonging." It is this same quality of groundedness which Graves achieved in her own work - stirring a sense of permanence, continuity and the inexplicably familiar.Judith Palmer. Bruce Gary, drummer and producer: born Burbank, California 7 April 1952; died Los Angeles 22 August 2006. In the mid-Nineties, Graves moved her studio to the Barbican in London; but by 2001 she was back on home soil in Cumbria, and exhibiting regularly with the new Lowood Gallery in Armathwaite.Lorna Graves was strongly connected to the land and landscape of Cumbria, but never belonged to any one place, shifting and resettling often, between Brampton, Grasmere and a succession of houses in Hunsonby, close to the stone circle Long Meg and Her Daughters."The modern psyche has been said to suffer from ontological disorientation or a loss of a sense of origins," she wrote. She won awards (notably the Oppenheim-Downs Memorial Award in 2001) and her work entered many public collections, with purchases made by the Victoria and Albert Museum, Tullie House Museum in Carlisle, Abbott Hall Art Gallery in Kendal, and numerous other city art galleries from Aberdeen to Stoke-on-Trent.She had a strong following, but perhaps suffered the fate of many artists who are rooted within one locale, to be dismissed by the metropolis as a "local" artist.

Is something diminished by being in the dark earth or is it diminished by being removed and exposed?A humanist, Graves had an intense sense of the sacred, and this was reflected in commissions such as her 1991 crucifix for Carver Memorial Church in Windermere, the memorial on Little Dunn Fell (1994-95), and her relationship with Welfare State International (producers of the Dead Good Funerals Book), for whom she created a hand-painted coffin in 1994.Graves exhibited steadily across Britain, Japan, Germany and the United States. Within the fabric of one of these ceramic urns, Graves had incorporated her own father's ashes. Graves held forceful views about the sanctity of burial sites, and hoped her work would make viewers question the rights of archaeologists to disturb and display ritual remains. "It seems that the passing of time justifies any desecration, any level of insatiable or morbid curiosity," she wrote:The very existence of mystery or the unexplained seems excuse enough to sweep aside all former rites, simply to add to the list of what is Known or Found We call these things found even though they were not lost. The primordial flickers of carbon smudging the surface appealed greatly to Graves, suggestive simultaneously of life and death. Often they had the appearance of bone, reflecting a sense of something unearthed, partially corroded, and concealing more than they revealed.Graves was fiercely secretive about firing her work, finding it an intense, emotional and private process.