the time…," Kurelek recalled, and upon discovering her faith, teased her about it. Later, he asked her if she was praying for him, and she answered, "Yes, I am." From here, they began to attend church services together. He took a correspondence course from the church, and met with Father Edward Holloway, a theologian trained at the English College in Rome, who helped him over some final stumbling blocks. In February 1957, Kurelek entered the Roman Catholic Church by a ceremony of conditional baptism. Margaret Smith, and his friend David John, a sculptor who did work for the church, were his godparents. He was transferred from the Maudsley to the Netherne Hospital, where he stayed from November 1953 to January 1955, to work with Edward Adamson (1911–1996), a pioneer of art therapy. At Netherne he produced three masterpieces - Where Am I? Who Am I? Why Am I? (donated to the American Visionary Arts Museum by Adamson at its inauguration in 1995), I Spit On Life, and A Ball of Twine and Other Nonsense. In 1984, when the Art Gallery of Ontario exhitied Selections from the Edward Adamson Collection, Adamson donated to the Ontario Psychiatric Association a large pencil drawing by Kurelek of one of the interiors of Netherne Hospital, showing a group of patients at leisure. Framer By the end of 1956, Kurelek was working for F.A. Pollak Limited, an elegant framing shop near Buckingham Palace. He worked here for 25 months. Frederick Pollak, an Austrian Jew, who had fled from Germany in the thirties and settled in London in 1938 establishing his shop for the framing and restoration of antiques, had made frames for the Louvre. Framing was an art that dated back to the Renaissance, and a single frame could cost thousands of pounds and require months of work. Pollak's became another school for Kurelek, where he learned the closely guarded secrets of gilding, which eventually found their way into his techniques as a painter. His apprenticeship at Pollak's, building and restoring frames, would serve him in a practical way until a few years before his death. When he returned to Canada in 1959, the Isaacs Gallery in Toronto immediately recognized the skills in framing that he had acquired in Europe. In later years, Avrom Isaacs commented that Kurelek would take more time building a frame than actually painting its canvas. Isaacs became Kurelek's agent for life;