(Blogpost) Artist in Focus: A conversation with David Bent

David Bent, Mr and Mrs Aerobot and Babybot, c.2006

In 2017 Swindon Museum and Art Gallery acquired three pieces by Swindon-based artist David Bent through the National Lottery Heritage Funded Creative Wiltshire project. As part of Art on Tour, Mr and Mrs Aerobot and Babybot is currently on display at the Civic Offices. Meanwhile Beach House West of Looe is due to go on display at Pinetrees Community Centre. But with plans delayed as we keep safe during lockdown, we asked David if he’d tell us a bit more about these wonderful pieces, which we’re sadly missing out on at the moment…

Art on Tour: Let’s start from the beginning. What inspired you to become an artist? Where did it all begin?

David Bent: As a young person I was naturally gifted at drawing and anything from the natural world drew my attention. I particularly liked watching birds and I still have a ‘David Bent book of bird drawings’ that I created when I was 6 years old. When I started at Dover Grammar School my art teacher spotted my natural talent and enthusiasm and introduced me to great historic art through gallery visits and interesting lessons. These inspired me to want to become an artist. He introduced me to life drawing at the local art college at the age of 13. This instilled a discipline for careful observation and technique which lasts with me to this day.

AoT: You’re now well known for driving a new movement in modern Aviation Art. What was it that drove you toward aviation?

DB: My Dad was an aviation enthusiast of his generation. His fist job was at Croydon Airport with Sir Alan Cobham, one of our great aviation pioneers. My father was a committed and skilful model maker who started the Dover model aeroplane club. They flew their aircraft from the historic flying fields behind Dover Castle. My older brother and I spent many happy hours chasing and fetching the models as they circled around the White Cliffs of Dover.

At school we had a Combined Cadet Force and I followed my brother into the Air Cadet section and experienced flight for the first time. My brother joined the Royal Air Force. We went to many air shows throughout the 1960’s, watching dazzling displays by courageous pilots in their amazing flying machines. I saw the very first display by the famous RAF Red Arrows aerobatic team with my dad at Biggin Hill in 1965.

My interest has always been there but didn’t show itself for a long time in my art until I was invited by a friend to the Royal International Air Tattoo in 2003 and the tap suddenly turned itself on.

AoT: The aviation influence is clear in your recent Aerobot Series, though this is quite different to some of your other work. Can you tell us a bit more about these human/robot hybrids?

DB: My art practice over the years has always included painting and drawing, graphic printmaking, photography and collage and I am often running these methods of production alongside each other as I go. I always try to be as inventive and skilful as I can be.

The Aerobots which date from 2006 are linked to photo collage work I was doing at that time (About Looking 1 and 2 , davidbentstudio.com, photography section). I had been sitting on a large database of photo imagery from my past and was experimenting with doubling, turning and juxtaposing them to create new “transformed” images.

When I applied this method to the images I had taken directly at the noses of various aircraft, the Aerobots revealed themselves. They clearly have an anthropomorphic quality with appealing character traits of their own, suggesting that we create machines in our own image within the laws of nature.

AoT: Of course, not all of your work is about aviation. Another work in Swindon’s collection is Beach House West of Looe from your Geometry Series. Can you tell us more about where this was painted?

DB: Some years ago, Carole and I discovered Talland Bay House Hotel and for some years it became our Cornish bolthole escape every now and then. Talland Bay sits between Looe to the East and Polperro to the West. I did sketch book drawings of the coastline, fitting with the work I was doing back in the studio creating my Landscape Geometry collection.

In the languid Cornish atmosphere, I was also dreaming of building a modernist Beach House by the sea where we would live out a Bohemian existence and so quickly designed one in my mind. I married the Landscape Geometry with my modern Beach House fantasy to create the painting.

David Bent, Beach House West of Looe, 2004-8

AoT: What is the significance of geometry for you?

DB: Since it was standardised by the Greek Euclid in about 300 BC geometry has underpinned our understanding of shape, form and the physical laws of nature. Images, which are important for our understanding of things are primarily made from a few basic shapes – triangles, circles and rectangles in various combinations. These are the building blocks of visual language. The ancients knew about this stuff. The belief that God created the Universe according to a Geometric plan has ancient origins and many churches, temples, mosques and pagan sites are built using the principles of sacred geometry.

AoT: It’s great see your work represented by these pieces in Swindon’s collection. Not so long ago, in 2019, you also had an exhibition at Swindon Museum and Art Gallery. Can you tell us a bit about what was on show and why it was important for you to have this exhibition?

DB: My Out of the Box exhibition provided me with an opportunity to accomplish two things.

  1. Address the perception of me as only having an interest in aviation and aerospace and
  2. Showcasing my work in my adopted town of Swindon, where we have lived and worked happily now for 25 years.

Artists rarely label themselves but they often get labelled by others. In my case, Aviation Artist. This is a convenient description but one that rarely sums up the whole. I make no excuses for using aviation as subject matter, it has had a major impact on our civilisation since we took to the skies 100 odd years ago.

Other interests that appear in my work, and which featured in Out of the Box, mostly concern some of the Big Issues that plague our world today, such as inequality, civil rights, War, and the Human condition. Movement 2000 is a good example of this. Over the years I have created “response” works to a number of globally significant  incidents such as 9/11, Chernobyl, Tsunamis etc and these were included too.

I was proud to show my work at the Swindon Art Gallery and to have my work represented in the Swindon collection in perpetuity.

David Bent with Movement 2000 at the opening of Out of the Box, 2019
Movement 2000, in Out of the Box at Swindon Museum and Art Gallery

AoT: What are you working on at the moment?

DB: Like most of the rest of the world I’m in Lockdown. We have plans for exhibitions at The Tetbury Goodshed and the Battle of Britian Memorial on the south coast. We remain hopeful that both of these will go ahead. Although this is a difficult time I am treating it like a sabbatical and taking the opportunity to shift my focus closer to home for a change.

I have just painted a self portrait, the first in about 25years and a personal painting of Carole and our two cats Danny and Maisy. I am using this pause to think and reflect about the state of the world , my place in it and how I might respond soon, God willing, with a profound and meaningful piece of art to add to my body of work, maybe titled, “lets get back to Abnormal as soon as possible!”

AoT: Thank you David!

We’ll end this one with a quick plug of our exciting David Bent-inspired Art Burst, which can be found under the Art Burst Creative Activities tab! If you’re trying to keep young minds occupied, why not take a look at these fun and informative creative beauties…

(Blogpost) Mental Health Awareness Week: Art on Tour chats to IPSUM

It’s Mental Health Awareness Week, and as we approach two months of lockdown there’s no better time to think about our own mental health, as well as that of others, and consider the ways in which creativity can contribute to good mental wellbeing. So we thought we’d catch up with our friends over at IPSUM!

We originally planned to join them this weekend at the Arts and Wellbeing Festival, Pop-Up Gallery in tow. With plans temporarily disrupted, IPSUM’s Director Julie Mattinson has told us a bit more about the charity, what they normally get up to, and how they’re adapting to lockdown.

Art on Tour: Julie, can you start by telling us a bit about IPSUM and your aims as an organisation?

Julie Mattinson: IPSUM is a mental health charity that focuses on the creative arts, music and talking therapies. Our aim is to compliment the statutory agencies and other charities by offering a creative ‘outlet’ to express difficult feelings and emotions.

We have always believed wholeheartedly in the power of creativity and its benefits to mental wellbeing and we are privileged to see first-hand how using the creative arts can really save lives. As an emotional language, the creativity can help us to express important and often difficult feelings at times when it feels that there are no words available to us.

Our creative services are also complemented by our 1-1 counselling provision. We have a bank of over 30 experienced counsellors who support us on a volunteer basis. IPSUM is privileged to have a very experienced music therapist as well as couples and 1-1 counselling. Our service provision is not only unique to Swindon, but also to the South West.

We offer a person-centred approach so when engaging with individuals, we spend time getting to know them to find out ‘where they are at’, where they want to get to, and how we can best help in line with their individual needs and interests.

AoT: How important is the link between creativity and wellbeing? 

JM: Creative Arts can be beneficial to mental health in so many ways, in its simplest form it provides a distraction that can give the brain a much-needed break from any negative thinking, having to concentrate and focus on a new task can act as a healthy form of escapism. Learning any new skill but particularly a creative one can stimulate positive feelings and can help individuals express their emotions when they cannot find the right words.

Artistic creativity and expression work as an effective therapeutic tool because it’s such a powerful medium, which can affect so deeply our sense of identity, culture, heritage and spirituality. In this way people of all ages and circumstances can connect with ‘Self’ and others. Creative Therapy uses this connection to engage the client and encourage them to connect with the world and express themselves, facilitating positive changes in emotional wellbeing and communication.

AoT: In what ways do your services help people to get creative?

JM: IPSUM has developed a range of creative therapies to complement its core professional counselling, harnessing the power of creativity and activity to engage with people through its creative arts programmes which include music, arts and crafts, creative writing and poetry, and mediation and mindfulness.

Creating art groups, therapeutic creative writing groups, getting involved in our monthly radio show or engaging with one of our music intervention groups has proven that in the company of others, has many healing properties, and the support that service users offer each other gives them a sense of belonging.

AoT: Can you tell us more about the radio show?

JM: IPSUM has its own Mental Health show on the local radio station Swindon 105.5. The show is created, produced and engineered entirely by our service users, who meet weekly to discuss within a group setting each month show contents. The show is made up of interviews, group discussions, poetry, music, songs and Raps, all created within IPSUM interventions. This not only serves as a platform to learn new skills but allows confidence, self-esteem and social skills to grow.

Our therapeutic writing or creating a piece of music has also served as a coping strategy for many of our clients because it is a powerful way of communicating difficult feelings and emotions in a safe way that doesn’t feel as direct as talking therapies if they are not ready for that yet.

AoT: We’re particularly struck by how this way of working is a unique and beneficial offer for your young service users. Can you tell us a bit more about that?  

JM: We have learnt that engaging with teens and students is challenging, and we needed a ‘hook’ to grab their interest, which was the founding rationale behind setting up the digital music studio. We have a fully equipped Music and Art studio which is complemented by a Digital Audio Workstation studio. This is now one of our most popular activities with our younger clients.

We developed a digital audio workstation programmes for all, but specifically for working with young people who have behavioural or emotional difficulties and those recently released from HMP.

The evidence shows that if we reach young people who are most vulnerable, then the impact of this support can improve their self-esteem and encourage them to make healthier life choices. Also, ex-offenders are a high-risk group for reoffending and often there are underlying issues around why they have taken the path that they have, the Studio 1 programme along with our talking therapies can have a real impact on their future.

AoT: Where are you based? And how can people access IPSUM during lockdown?

JM: We are based at 13 Milton Rd Swindon SN1 5JE but also outreach into the community.

Our creative music programmes are primarily based on our premises, in our professional custom-built sound studio. They can also be created in an outreach setting, taking the music and recording equipment into the community to encourage involvement in musical production and performance: in schools and colleges as well as youth clubs, village/church halls, and other local community premises.

We regularly visit the inpatient mental health unit at Sandalwood Court to help alleviate stress and improve mental wellbeing through music jamming and drumming sessions. 

IPSUM continues to support our service users through telephone and social media. We are still doing assessments on the telephone, and key working with those that are vulnerable and in need of added support.

We have tutorials and lots of opportunities to get involved on our social media sites and our YouTube channel, and we remain accessible on the telephone – 01793 695405.

AoT: Do you have any advice for how we can look after our mental health during this tough time?

JM: It’s so important that you keep your mind and body healthy. Going for walks, talking to friends and loved ones, watching your favorite programmes and films on TV and getting creative. Try something new or something that maybe you have forgotten you used to enjoy.

Baking, sewing, writing short stories or poems, painting/ drawing, are so therapeutic and a great way to keep our minds active.

Don’t forget to talk about how you are feeling if things start to feel too much there is a lot of support out there including IPSUM.

AoT: Before we went into lockdown, you were planning a big Arts and Wellbeing Festival. Are there any plans for a version of this in the future?

JM: The Arts Festival has been put on hold until October (date to be confirmed) as the plan was to bring the Swindon community together. As not everyone has social media and our desire to support loneliness and isolation, we felt the best plan was to wait until we have clear guidelines from the government to ensure all can get involved.

Is there anything people can get involved with online now?

Yes, here’s our call-out…

We will be part of the Swindon Wellbeing and Art Festival celebrating mental health week, which is to take place until Sat the 23rd of May.
But that means we need a little help from you.
Our theme for the week is ‘CREATIVITY IN LOCKDOWN’ which we know you all have already been doing and sending us lots of wonderful creativity, but we need even more.
If you are stuck for ideas we have 3 mini themes which are ‘NATURE’, ‘EXPRESSION’ and lastly ‘ROOM/JUST A VIEW (what do you wish you could be seeing? Or what is outside your window)’.
Absolutely anything you are doing is amazing to see from singing, gardening, art work, baking, poetry, dancing and many more things!
You can send them to us on admin@ipsum.care or message us across on our social media.
We look forward to seeing your creations- The Ipsum Team

AoT: Thanks so much Julie!

(News) Swindon Spring Festival Talk: The Story of Swindon’s Art Collection

Paul Ayshford Methuen ‘The Port of Bristol’ – One of the first paintings to enter the Swindon Collection
(c) James Methuen-Campbell; Supplied by The Public Catalogue Foundation

I spend a lot of time talking about Swindon’s art collection; the artists, the exhibitions, the techniques. Of course, the main plug is that it’s one of the best collections of modern British art in the UK. Naturally, the question I’m frequently asked in response to this, is something along the lines of “How did this important collection end up in Swindon (of all places!)?”

So when I was given the opportunity to give a talk for the fabulous Swindon Spring Festival this year, I saw it as an opportunity to discuss the bigger story of Swindon’s art collection. This seemed fitting for a festival that has its roots in storytelling (having formerly been the Swindon Festival of Literature), and thinking about the broader history of the collection shines a whole new light on how lucky we are to have it here in Swindon.

Of course, it was impossible to give the talk in person at gorgeous Lower Shaw Farm as initially planned. So instead we’ve released it on YouTube in a somewhat similar style to the Art Snaps. It’s a little bit longer than the podcast though, as it’s a big story to tell…

Through 12 (actually, it was technically 13 in the end) artworks I discuss the way the collection was established and how it has grown; from the first generous donations by Phelps and Bomford, to collaboration with the Tate’s Richard Morphet, grants from numerous organisations, recent exciting projects and significant contemporary gifts.  

Without a doubt there’s plenty I’ve missed out in this 30 minute talk, but my overall message is that the collection wouldn’t exist without the generosity and vision of the people and organisations Swindon Museum and Art Gallery has worked with over the years, and we remain very thankful to them!

I hope you enjoy the talk, which is still available via our YouTube Channel – https://www.youtube.com/channel/UCwLHgHbvoC0OF8zDXyv-EPQ and Spring Spring Festival’s YouTube Channel – https://www.youtube.com/channel/UCX2eEDmlB9SDS-iACQPzEhw

Katie Ackrill

(Blogpost) Commemorating World War II through Official War Art

Graham Sutherland, Dark Hill – Landscape with Hedges and Fields, 1940

In honour of VE Day, our most recent Art Snap Podcast features three artworks from Swindon’s collection, in which artists have directly responded to times of conflict.

Two of these reference World War One, with Augustus John drawing on his experiences of being on the Western Front, and Prudence Maltby looking at the legacy of the war 100 years later.

I also look at Swindon-born artist Leslie Cole, who was eployed by the War Artists Advisory Scheme, and was one of their most important Official War Artists in World War Two.

It should never be underestimated just how important this initiative was, as over 400 artists were employed to record social and military life during the war. And not only did this allow some of the greatest British artists of the Twentieth Century to produce some of their most powerful work, but it also gives us a comprehensive view of the complex consequences of war.

The Imperial War Museum owns around 7,000 artworks created in response to World War Two, many of which are available to view through their website. I’d like to take a moment to reflect on some of my favourite Official War Artists from the collection.

Leslie Cole is always hovering at the top of my list, and this isn’t just because he’s a Swindonian. Cole travelled extensively during his time as an Official War Artist, and left us with an incredible record of the war covering a number of countries and subject matter.   

For example, The Interior of an Aircraft in Flight (c.1941-2), shows the bleak and claustrophobic conditions of militray aircraft. Yet the pilot and accompnaying soldier are unbothered by their surroundings, as they’re furiously focused on the tasks at hand.

(Image available here: https://artuk.org/discover/artworks/the-interior-of-an-aircraft-in-flight-7027/search/actor:cole-leslie-19101976/sort_by/date_earliest/order/asc/page/1/view_as/grid)

Cole’s most harrowing images come from his visit to Bergen-Belsen, when it was liberated in 1945. This depiction of the death pits is so unflinching that it is almost difficult to look at, yet it is so important to our understanding of the suffering endured by innocent victims.  

(Image available here: https://artuk.org/discover/artworks/one-of-the-death-pits-belsen-ss-guards-collecting-bodies-7441/search/actor:cole-leslie-19101976/page/4)

When we see images like this, it is no wonder that when Cole returned from the war his portraits, such as Mary (Young Girl with Doll) from Swindon’s collection, are haunted by sadness and isolation.

Leslie Cole, ‘Mary (Young Girl with Doll), 1946, (c) Mr Russell Falkingham; Supplied by The Public Catalogue Foundation

Another of my favourite war artists is Graham Sutherland, who produced some of his most powerful wartime images closer to home. He responded to scarred landscapes and cityscapes in images such as The City: A Fallen Lift Shaft (1941). Here Sutherland manages to convey great emotion and fragility though his depiction of bomb-damaged buildings against a burning sky.

(Image available here: https://www.iwm.org.uk/collections/item/object/25861)

Swindon’s collection includes two wartime landscapes painted by Sutherland, which show how landscape painting in Britain developed in response to the turmoil of war. Dark Hill – Landscape with Hedges and Fields (1940), shown at the top of the blogpost, presents an ominous mound of fractured forms, which is difficult to separate from his disfigured images of London during the Blitz. It was painted at the beginning of the war, when he was staying in Upton with Kenneth Clark, who was the driving force behind the War Artists Advisory Scheme.

There are so many more stunning, moving and important images by significant Official War Artists. But to save me going on all day, I’ll end with this very apt and cheerful piece by Leila Faithful, VE Day Celebrations outside Buckingham Palace (1945), from the Imperial War Museum. This scene of great colour and animation conveys the excitement generated by the announcement of the end of the war.

(Image available here: https://www.iwm.org.uk/collections/item/object/8877)

Blogpost by Katie

(News) Art UK Story: Five Uplifting Paintings from Swindon’s Collection

Vanessa Bell, Nude with Poppies, 1916 (c) Henrietta Garnett; Supplied by The Public Catalogue Foundation

As we know, you’re fully and frightfully aware that we’re now in week five of lockdown. Though many have adapted wonderfully to these challenging times, it’s clear that for many of us, it isn’t getting any easier.

We’re missing our friends and families, and some of us are perhaps feeling low, upset and fearful about our current situation. Which is why it is so important for us to support one another, find ways to connect, and keep that positivity flowing wherever we can.

The link between art and wellbeing has never before felt so important, and it’s wonderful to see museums, galleries and arts organisations moving quickly to make their work available online, or highlight their existing resources.

Here at Swindon Museum and Art Gallery, and Art on Tour, we’re particularly grateful for a fantastic online resource which does great work to share our art collection. Art UK is the online home for every public art collection in the UK, and makes it really easy to browse artists and collections until your heart is content.

So we are thrilled and thankful that they’ve published our story about five uplifting pieces from Swindon’s art collection! We hope that these five artworks will break through the monotony of lockdown, and bring a bit of vibrancy and positivity to your day.

Here’s a link to the story –


We hope it helps!

Whilst you’re there you might notice that Art UK publishes numerous fantastic pieces about collections, exhibitions, artists and artworks. Don’t be afraid to get lost in these wonderful stories about the nation’s art collections!

Stay safe and well!

Katie and Mags

(Blogpost) Jack Smith: From Social-Realist to Sounds and Silences

(c) Jack Smith, Sounds and Silences; Supplied by The Public Catalogue Foundation

Episode Six of Art Snaps focuses on artworks currently on display at Swindon’s Civic Offices. The exhibition presents 18 highlights from Swindon’s collection, which span about 100 years of modern British art, and represent nationally important artists as well as home-grown talent.

The exhibition opened in September 2019, and in May 2020 the Art on Tour engagement programme was due to launch a series of “Walk and Talks” alongside the exhibition. Sadly, these are not to be (for now at least).

So our most recent Art Snap focuses on three artworks on display at the Civic Offices; offering up information and insights about Sylvia Gosse’s The Printer (1915), Claude Francis Barry’s Tower Bridge, London – A Wartime Nocturne (c.1940) and Jack Smith’s Sounds and Silences (early 1980s).

Of course, the excitement doesn’t stop there…

At the end of the episode, I promised to publish blogposts about artworks from this exhibition too. I’m not one to break my promises, which is why this piece looks at Jack Smith (1928 – 2011) in a bit more depth.

In the Art Snap, we look at Sounds and Silences from the early 1980s and I speak about Smith’s progression as an artist, who began his career by dabbling in Social Realism but went on to develop a very different style of work, which focused on giving visual form to sound.

So let’s look at that fascinating output in a little more detail, starting with Mother Bathing Child (1953).

(Image available here: https://artuk.org/discover/artworks/mother-bathing-child-201895/search/actor:smith-jack-19282011/sort_by/date_earliest/order/asc/page/1/view_as/grid)

The piece was created when Smith was a member of the Kitchen Sink School, which was influenced by social realism and depicted the lives of the working class. In fact, images like Smith’s gave the movement its name, for the artists took inspiration from their own surroundings. In Smith’s case, subject matter for his early paintings came from the crowded house which he and his family shared with two other artists.

Yet, from the offset, Smith wasn’t necessarily creating work in the spirit of the Kitchen Sink School. He claimed that his work had nothing to do with social comment; it was simply a response to his own surroundings, a celebration the ordinary. So without a specific socio-political outlook, it makes sense that he began to shift his focus to the formal qualities of these everyday scenes.

Shirt in Sunlight (1956) presents a simple still-life of a shirt hanging on a line, but instead of focusing on the realism of the scene, Smith produces a study of light. He has captured the shape the sunlight makes when it streams through the window, and the way this hits the shirt so that some of the martial is almost bleached out. This marks the beginning of a new approach, in which Smith aimed to capture an experience or sensation of reality, which in this case is an experience of light.

(Image available here: https://www.artuk.org/discover/artworks/shirt-in-sunlight-82606/view_as/grid/search/makers:jack-smith-19282011/sort_by/date_earliest/order/asc/page/1)

We can see this idea pushed even further in Smith’s painting Night Sky (1957), in Swindon’s collection. The painting doesn’t represent anything specifically, though it is tempting to see stars and a meteor. Rather the artist means to represent light with dazzling white and blue forms against a dark background of thick brown and black.

This piece is currently on show in Swindon Museum and Art Gallery’s exhibition Pop and Prosperity, which showcases work from the 1960s. Though it was painted in 1957 it reflects a broader shift within British art, which embraced abstraction in the late 1950s and 1960s, much more readily than it had before.

(c) Jack Smith, Night Sky; Supplied by The Public Catalogue Foundation

By the time Smith painted Sounds and Silences in the 1980s, his work had undergone a complete transformation. His focus was less on light, and more on how to represent sound. As a result, his painterly style of the 1950s became smooth and measured, dominated by bright colours, angular lines, signs and symbols, which almost seem to have a language of their own.

Sounds and Silences is a special piece in the collection because it represents a space where visual art and music collide, and really makes us think about the many ways we can begin to describe our experiences of the world. 

I hope you’ve enjoyed this little journey into Jack Smith’s interesting career. If you’re not quite ready to return home, take a look at our Sounds and Silences Art Burst activity. Yes, they are technically designed for kids, but if you’re a grown up with the time and inclination, why not give it a go?! Or pass it on to a family who might have some fun with it!?

Thank you for reading!

Blogpost by Katie

Five Minutes of Fame on BBC Wiltshire

Art on Tour (or Art on Tour at Home, as we’re increasingly referring to it) is all about bringing more art to more people, all within the safety of their own homes. We’ve spent the last few weeks on a huge learning curve, trying to work the dreaded technology and find the best ways to bring Swindon’s art collection straight to you.

Now we’ve got the ball rolling, the challenge is spreading the word, and ensuring people know that these resources are free and so easily accessible!

So we were thrilled to be invited to have a chat with Sue Kinner on BBC Radio Wiltshire last night, and tell our fabulous county what we’ve got to offer. Our Project Engagement Officer had a lovely time talking to Sue about how we’ve transformed Art on Tour into a digital project.

Amidst an almost impressive number of “ums”, Katie talked about our Art Snaps Podcast, Art Bursts Family activities, and the Go Bananas Daily Art Challenges. She also gave information on how all these fabulous resources are available; through this very blog, on Facebook @ArtonTour2020 and Instagram @swindongalleryartontour.

Thanks to Sue’s expert interview skills, Katie was able to sum up the entire project in just 5 minutes, so if you want to get the lowdown in one quick hit, check out the interview here – https://www.bbc.co.uk/sounds/play/p088bqq6

We’re on just over half way thorough, but we do of course encourage you to listen to the rest of Sue’s show, which also includes some great tunes!

To round this one off, we’d like to thank BBC Wiltshire for helping us spread the word, and indeed everyone who has supported us so far by taking part or sharing our links with others. Keep up the good work!

Katie and Mags