I agreed to do the work and calculated everything I needed. I double, triple and quadruple checked dimensions and material availability because everything I needed, barring the moulding needed to be delivered cut to size. With a deep breath I pressed return sending the email order.

Six days later, having received no acknowledgement of the order (except an email read receipt) I chased it, and after a few internal battles, various members of staff fulfilled as much of the order they could barring the oversized mount which had to be prepared by a different division of the company. Two days later, having received all but the mount, I received a phone call from this division advising that they can’t physically cut a mount of this size, their machinery didn’t operate to this scale. Why I wasn’t made aware of this at the time of the order? I don’t know; the mount was just 15mm too large. I now had everything but no mount and no means of cutting one. A number of options later it was finally agreed that my delivery would be restocked and everything would be supplied to the revised dimensions, “Phew!”

Everything in place (and checked!), the moulding was cut to size, waxed, and pinned together. The drawing was mounted and hinged with the under-mount and the entire framing package including the UV glazing checked for dust and sealed. All there was left to do was to place the package into the back of the frame, put in place the backing board and seal. Turn it over admire, and apply a final coat of wax to the moulding. Done!

Djala’s journey to sanctuary began in the early 1980’s when he arrived at Howletts Wild Animal Park, and was later settled at Port Lympne Wild Animal Park. Ultimately Djala was prepared for an epic journey back to Gabon and two years ago through the amazing work of the world leading conservation charity The Aspinall Foundation’s Back to the Wild Campaign Djala took his first steps back to freedom; a bitter/sweet result for Phil Ridges who has been his long term keeper at Howletts and Port Lympne.

This was a ground breaking journey, because never before had a conservation organisation ever attempted the release of an entire family group back to the wild. Djala and his family (born in captivity) arrived back to settle in a one million acre reserve the Batéké Plateau, Gabon, the flagship project of The Foundation. To help with the transition, Phil worked with a team acclimatising the gorillas to their new life, where Djala continues to thrive on an island within the reserve. This has helped Djala break his psychological problems and habit of plucking his arms which was no doubt caused by his dislike of most people.

Studies have found that animals in captivity endure stress which is why Damian Aspinall, believes that all animals belong in the wild.

“If we can protect animals in the wild properly, then there’s no need for zoos. That’s got to be the ultimate aim. But that’s a 30-year dream.”

The Aspinall Foundation has released 26 gorillas in Gabon and 25 in Congo since 1996, conservation and education continues to be a huge part of its ongoing work.

So what you might ask was my involvement with Djala? Well, in comparison to the amazing work described very little, except to say that I had the privilege to be asked by Port Lympne Wild Animal Park to frame the most beautiful photograph of Djala. On first glance a black and white photograph, but then you spot those amazing soulful deep amber eyes. Djala’s devoted keeper Phil has worked with The Foundation for more than 25 years, and the print is its gift to him. I would have loved to have been a fly on the wall when the presentation was made to Phil. Thanks to “Google” and The Foundation’s belief in supporting local businesses Amy Coleman of Port Lympne Wild Animal Park, and Jennifer Lewis of The Aspinall Foundation visited me, we discussed presentation options and I had the joy of framing this stunning image by internationally respected animal photographer Tim Flach.