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One of the most significant environmental issues of our time is climate change, which has become a focal point for many artists. Olafur Eliasson, a Danish-Icelandic artist, is one such figure whose installations often explore the relationship between humans and nature. His 2018 exhibition, "Ice Watch," involved placing twelve large ice blocks in public spaces around London, where they slowly melted over several days. The installation aimed to draw attention to the rapid melting of the polar ice caps and the impact of global warming on the planet. Maya Lin, a Chinese-American artist, has also explored environmental issues in her work. Her sculpture and memorial pieces have contributed significantly to the discourse on biodiversity and the impact of human activity on the environment. Her piece, "What is Missing?" is a multi-sensory installation that includes a website, a book, and several installations around the world. The work aims to highlight the loss of biodiversity due to human activity and to inspire action to protect the environment. These artists and many others are using their creative skills to generate conversations about environmental issues and inspire action. Through their works, they challenge viewers to confront the reality of our changing planet and take responsibility for addressing environmental challenges. Whilst installations and multimedia works such as these are one side of how artists are engaging with issues around climate change, even more traditional practices can provide starting points for this important social conversation and landscape artist Kerry Johnstone is doing just this. In her current exhibition, Johnstone's focus is on "Trees, Rocks and Moor", which reflect her appreciation for these natural resources. Having lived in Malawi, Johnstone has witnessed the devastation that comes with high population, reliance on wood for fuel, and unreliable rainfall patterns. Her work celebrates trees, particularly those that dominate the landscape and can be seen from far away, such as the ancient, twisted oaks of Wistman's Wood. Rocks, with their shapes and interesting plant life, continue to fascinate her. And finally, the Moor, particularly Dartmoor, provides an incredible opportunity for people to reconnect with nature. It's a haven for wildlife and probably the closest we can get to "wilderness" in this part of the world. Through her art, Johnstone seeks to highlight the importance of preserving these natural resources for future generations. Art has the potential to inspire and motivate people in ways that words alone cannot. By utilizing their creativity to draw attention to environmental issues, contemporary artists are making an essential contribution to ongoing dialogues about the planet's future. As we confront the challenges of environmental degradation, we can look to the works of artists such as Kerry, for inspiring action to a more sustainable future. You can discover Kerry's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of embroidery artist Chloë Morter. For more information, visit www.art-hub.co.uk/ex/kj23 #KerryJohnstone #NaturalWorld #LandscapeArt #cm23 #kj23

Dartmoor's rugged, windswept landscape has captured the imaginations of artists and poets for centuries. But it wasn't until the 19th century that the area began to attract a significant number of tourists and artists. The Dartmoor landscape first began to appear in works of art in the late 18th century, when landscape painting was gaining popularity in England. Artists such as Francis Towne and John White Abbott painted scenes of Dartmoor, often using a romantic and idealized approach to depict the landscape. However, it wasn't until the mid-19th century that Dartmoor became a popular destination for artists. One of the key factors that contributed to the rise of Dartmoor as a tourist and artistic destination was the construction of the South Devon Railway in 1846. The railway made it easier for people to visit the area, and as a result, Dartmoor began to attract more visitors. Another factor that contributed to the popularity of Dartmoor was the growing interest in nature and the outdoors during the Victorian era. The Romantic movement, which celebrated the beauty of nature, was in full swing, and many people began to seek out natural landscapes for recreation and inspiration. Dartmoor's rugged terrain, wide open spaces, and wild beauty made it an ideal destination for those seeking a connection with nature. Many artists were drawn to Dartmoor during this period, including members of the Royal Academy. Artists such as John Brett, William Henry Purchase, and William Crossing created works that captured the beauty and grandeur of the landscape. These artists often used a realist approach, depicting the landscape in all its wild and untamed glory. One artist who has been inspired by Dartmoor's landscape in recent years is Kerry Johnstone. Johnstone's work celebrates the natural beauty of Dartmoor, with a particular focus on trees, rocks, and moorland. Her paintings capture the essence of the landscape, with its rolling hills, dramatic tors, and wide-open spaces. Johnstone's work is influenced by her deep love of nature and her concern for the environment. She has lived in Malawi, where she witnessed the devastating effects of deforestation, and her work is a reflection of her commitment to preserving and celebrating the natural world. Through her paintings, Johnstone invites us to connect with the natural world and to appreciate the beauty and complexity of the landscape. Her work is a testament to the enduring appeal of Dartmoor, and to the power of nature to inspire and captivate us. The visual arts have long been recognized as a powerful means of communication capable of transcending language and cultural barriers. Contemporary artists have increasingly focused on using their creative talents to initiate and engage in dialogues around pressing social and environmental issues. In particular, the issue of environmental degradation has emerged as a pressing concern in contemporary art. You can discover Kerry's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of embroidery artist Chloë Morter. For more information, visit www.art-hub.co.uk/ex/kj23 #KerryJohnstone #NaturalWorld #LandscapeArt #cm23 #kj23

Landscape painting is an ancient and venerable art form that has been practiced for centuries across cultures and civilizations. The art of painting landscapes is both a creative and technical practice that requires a mastery of composition, colour, and form. Over time, the techniques and styles of landscape painting have evolved, with contemporary artists like Kerry Johnstone exploring new contexts through this longstanding medium. A (VERY) Short History of Landscape Painting The tradition of landscape painting can be traced back to ancient China, where landscape art was considered the highest form of painting. The Chinese believed that landscapes held spiritual and moral significance, and that painting them was a way to connect with the divine. Chinese landscape painting typically featured sweeping views of mountains, rivers, and valleys, often with tiny figures or buildings set against the vast expanse of nature. In Europe, landscape painting developed in the Middle Ages, primarily as a form of religious art. Artists used landscapes to create backgrounds for religious scenes, and as a way to represent the natural world as a reflection of the divine. During the Renaissance, artists began to focus more on capturing the beauty of the natural world for its own sake, and landscape painting became a popular genre in its own right. In the 19th century, landscape painting underwent a significant transformation with the development of the Romantic movement. Romantic painters sought to capture the sublime beauty of nature, often depicting dramatic, awe-inspiring scenes like stormy seas or craggy mountains. The Impressionist movement that followed focused more on the play of light and colour in the natural world, capturing the fleeting beauty of everyday scenes like sunsets or gardens. Kerry Johnstone Today, landscape painting continues to be a popular and respected genre, with artists using a wide range of styles and techniques to depict the natural world. Contemporary artist Kerry Johnstone, for example, focuses on the beauty of trees, rocks, and moors, using vibrant colours and intricate details to capture the essence of nature. Johnstone's work reflects her appreciation for the natural world, as well as her concern for environmental issues like deforestation and climate change. Her paintings celebrate trees, from the unglamorous ones hidden in hedgerows to the majestic trees that dominate the landscape. She also portrays the beauty and complexity of rocks, with their varied shapes, plant life, and the way trees and their roots grow in and around them. Johnstone's paintings of moors depict the rich colours and textures of the natural landscape, capturing the essence of this wilderness area. Through her work, Johnstone demonstrates the ongoing evolution of landscape painting, showcasing how contemporary artists are using the medium to address contemporary issues. By celebrating the beauty of nature and highlighting the fragility of the environment, Kerry's paintings remind us of the importance of preserving and protecting the natural world for future generations. You can discover Kerry's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of embroidery artist Chloë Morter. For more information, visit www.art-hub.co.uk/ex/kj23 #KerryJohnstone #NaturalWorld #LandscapeArt #cm23 #kj23

Embroidery is a time-honoured art form that has been practiced across cultures for centuries, characterized by the use of needle and thread to embellish fabric surfaces with decorative designs. Although traditional techniques continue to be celebrated and practiced, contemporary embroidery artists have developed new and innovative ways of working that are redefining the boundaries of the craft. One notable contemporary artist is Chloë Morter, whose work often features bird imagery and reflects her love of the natural world. Morter employs both traditional and modern techniques in her practice, using photos and sketches as the basis for her designs, which she then breaks down into minute, intricate elements. These designs are then transferred onto an embroidery machine, which she uses to stitch the design, followed by adding depth and detail with free-motion stitching on a sewing machine. Morter's pieces are known for their multiple layers of thread, which create a tactile, three-dimensional texture and a sheen that is almost luminescent. In addition to her use of embroidery techniques, Morter incorporates collage elements into her pieces, which she builds up with fabrics, coloured silks, and lace to create a background inspired by nature. These elements are then integrated with her stitching, which blends different textures, patterns, and colours together, creating an intricate and harmonious composition. Morter's work also occasionally includes printed or stitched words and phrases from poets and nature writers, lending a literary dimension to her art. Contemporary Embroidery Artists Morter's work is emblematic of the broader trend of contemporary embroidery artists, who are exploring the limits of the medium and its potential for innovation. Other artists, such as Cayce Zavaglia, Danielle Clough, Hiroko Kubota, and Sarah K. Benning, are also creating work that showcases the diversity and richness of contemporary embroidery. Zavaglia's work is characterized by her hyper-realistic portraits, which are rendered with thousands of stitches in thread that mimic the look of brushstrokes. Clough, on the other hand, creates vibrant and colourful pieces that explore the playful possibilities of embroidery. Kubota creates delicate and intricate works inspired by traditional Japanese art, while Benning combines traditional techniques with a contemporary sensibility to create botanical and landscape scenes that are whimsical and evocative. Technology Alongside the work of contemporary artists, advancements in technology have contributed significantly to the evolution of embroidery. Computerized embroidery machines, for instance, allow for the creation of highly detailed and complex designs with greater speed and efficiency than ever before. Meanwhile, new materials like conductive thread and 3D-printed fabrics are being used to create pieces that blur the lines between embroidery and other media, such as electronics or sculpture. All of this means that today, embroidery continues to be a rich and diverse art form that offers endless possibilities for artistic expression. Contemporary embroidery artists, like Chloë Morter, are combining traditional and modern techniques to create new, innovative, and highly expressive works that push the boundaries of the medium. Through their skill and creativity, these artists are keeping alive the tradition of embroidery while simultaneously reimagining its potential for the future. You can discover Chloë's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of landscape artist Kerry Johnstone. For more information, visit www.art-hub.co.uk/ex/cm23 #ChloëMorter #NaturalWorld #Embroidery #cm23 #kj23

Embroidery is a traditional craft that has been practiced for centuries all over the world, with the purpose of embellishing fabrics through needle and thread. Despite its functional origins, embroidery has become a popular form of artistic expression, thanks to the intricate and beautiful designs it can create. Embroidery has played an important role in many cultures throughout history, serving as a sign of status, religious piety, and artistic skill. In medieval Europe, embroidery was a popular pastime among the upper classes, who used it to adorn their clothing and household items. The Bayeux Tapestry, an embroidery that depicts the Norman Conquest of England, is a testament to the level of skill and artistry that was achieved during this period. Religious art, particularly in the Christian tradition, also made great use of embroidery. Opus Anglicanum, a type of embroidery that originated in England in the 12th century, was famous for its intricacy and beauty and was used to decorate religious vestments and altar cloths. In the Islamic world, embroidery was highly prized and was used to decorate a wide range of items, including clothing, cushions, and wall hangings. The use of gold and silver thread was particularly popular in Islamic embroidery, and many examples of this work still exist today. In the 19th and 20th centuries, embroidery experienced a resurgence in popularity, particularly in the form of samplers and other decorative household items. Women and girls often spent hours creating these pieces, which were seen as a sign of their skill and virtue. Chloë Morter, Contemporary Embroidery Artist Today, embroidery continues to be a popular craft, with a wide range of techniques and materials available to artists and hobbyists. Contemporary embroidery artists like Chloë Morter have pushed the boundaries of the craft, creating stunning works of art that incorporate a wide range of techniques and materials. Morter's work is inspired by her love of birdwatching and nature, and she uses photos and sketches to create detailed depictions of birds in stitch. Her designs are broken down into small, detailed elements and using embroidery and free-motion stitching, she creates depth and detail. Morter incorporates collage into her pieces, using old fabrics, silks, and lace to create a decorative and idealized background that blends together with the bird to create a beautiful, timeless piece. Her work demonstrates the ongoing evolution of embroidery, showcasing how contemporary artists are using the craft to create new and innovative works of art while still honoring the history and tradition of the craft. She pushes the limits of the traditional techniques and materials used in embroidery, incorporating new elements and technology to create innovative pieces. You can discover Chloë's work at Artizan Gallery in their May 2023 "Natural World" showcase alongside works of landscape artist Kerry Johnstone. For more information, visit www.art-hub.co.uk/ex/cm23 #ChloëMorter #NaturalWorld #Embroidery #cm23 #kj23

The Little Theatre’s April 2023 production is a dark drama by Robert Scott, an award winning British playwright, whose scripts range from dark tragedies to light comedies. During his extensive career, Robert has received countless positive reviews from audiences and critics, and his plays are performed all over the world. Director, Anna Reynolds says, “This play will keep you on the edge of your seats! It’s superbly written. We’re lucky to welcome three new members to our cast, husband and wife Ben and Rachel Field and Alison Lee. A play like this with so much drama needs a tight knit cast that can ease the tension and laugh together. This cast has gelled so well together, and the three newbies have slotted in beautifully for which I’m thankful. The play is set in 7 different locations so the set builder, Paul Lewis, and I have had an interesting journey meeting those demands on stage. I think you’ll like the imaginative way we’ve done this.” The play runs from Tuesday 11th to Saturday 15th April at The Little Theatre at 7:30pm each night with a matinee on the Saturday at 2:30pm. TOADS Box Office 01803 299330 (Open Tues-Fri/10am-12noon). Book Online www.toadstheatre.co.uk TOADS Theatre Company @The Little Theatre Co St Mark’s Road Meadfoot Torquay TQ1 2EL DEATH’S DESIRE by Robert Scott Directed by Anna Reynolds Free parking. Disabled Access. Bar and Coffee Shop open from 6.30 pm. #TOADS_Theatre #Performance #English_Riviera Daniela Hopkins and Stewart Molyneux Ben Field and Jon Manley

I am delighted to be participating in a group exhibition later this month at the South Gate Gallery in Exeter. My fellow exhibitors will be painter Danny Stone and Ceramicists, Sara Evans and Laurel Keeley. Jayne’s exhibited work will feature landscape paintings that look for a connection of energy between the sky, water, and earth, showing the viewer the power running through the layers of the scene, not just what we see at ground level, but exploring the energy beneath our feet. ‘It is how the light and water feed this energy which in turn keeps the life cycle going’. The exhibition opens on 15th March and runs until 11th April. There will be an exhibition launch on Wednesday 15th March 6.30-8.30pm - All Welcome Tues-Friday 10am–5pm Sat 10am–3pm South Gate Gallery, 64 South Street, Exeter EX1 1EE #JayneFarleigh #exhibition #TimeandTide

#MarksGoingForAWalk - Update 17 December 2022 The completion of the Southwest Coast Path is becoming like an approach to life. The Path yet to come undulates and stretches ahead in the imagination, while at the same time one can look back at the physical path, maps of the path, and photos and memories of the path already completed. Knowledge of the path behind can only inform, not change, the path ahead - except in my approach to it. The theme of emergence is strong during a long walk of this kind. A whole life can be explored in microcosm; the journey of the walk a physical metaphor for life’s successes and failures, small and large. At the same time massive global events unfold around one, marking the journey with conjunctions of influences that compost into memories. A war in Europe, the death of a Queen, several governments in quick succession. All played out moment to moment, or mile by mile; each mile building something in me that is both new and old. I left the last stage in late September at The Lizard in Cornwall, almost exactly half- way in distance covered (303 miles), and exactly half-way in number of days completed (26 of 52). As we move into winter, the whole of the southern exposure of the Coast Path lies ahead, now approaching known and lived areas such as Torbay, Exmouth (where I grew up), and Dorset. Gone the baking, airless days of summer - now comes the real test as rain, wind, and even snow pile against the effort of stretching out one’s legs. New and even more precarious moments approach." https://www.justgiving.com/fundraising/thompsonart #MarkThompson #marksgoingforawalk #southWestCoastPath #REACTDisasterResponse #RaisingMoneyForUkraine #goforawalk

When I started making photographic re-imaginings of famous works of art, I really did not intend to make so many. I've now made well over 50. One of my latest ones, a re-make of a famous double portrait by Sir David Hockney, is now hanging in the Royal West of England Academy in Bristol. Amazingly it shares a room with (inter alia) two watercolours by our new King, Charles III. David Hockney's portrait of Ossie Clark with his then Wife, designer Celia Birtwell, caused a sensation when it was first painted and acquired by TATE Britain in 1972. I was a teenager then and remember it well. My schoolfriends and I thought it was the epitome of cool. We all wanted to be like Celia and to meet men like Ossie (well that is what we thought at the time, we might think differently now...). The lighting in the painting was extraordinary. We knew we were in the presence of great art, on a par with double portraits by Van Eyck and Gainsborough. The only unsatisfactory thing for us was the little white cat (called Percy for the painting) - he was looking out of the window rather than engaging with the viewer. Well, we all know what lockdown was like. We didn't out enough. We took in rescue pets. Our minds went into fantasy mode. So one afternoon in May I bought a pot of lilies reduced in Morrisons, re-arranged our bedroom, set up some reflectors and called my husband (Des Maxwell Clark) and the new (to us) huge tabby cat, Alfred. I dug out a very old dress and cardigan dating from my youth, and shot the picture, using a ten second shutter delay. Shooting into a bright window is not easy, but I got it to work and to replicate the effect Hockney captured in his painting. His was called Mr and Mrs Clark and Percy. Because our married name genuinely is Clark, mine is called Dr and Mrs Clark and Alfred. I have already had several of my pictures displayed in the Royal Academy in London, but the Royal West of England is notoriously difficult to get into, so I was thrilled to be selected. It's a fabulous venue - easily reached by train to Temple Meads and a short ride on the number 8 bus. I would also recommend visiting TATE Britain. The original is a remarkable painting that set Hockney out on the path of becoming a household name and recognised genius. The exhibition in Bristol is on until 8 January RWA 169 Annual Open Exhibition #pastichephotography #RWABristol #AnnaGrayson #SirDavidHockney #MrandMrsClarkandPercy

We thought our 2021 annual Winter Open might be our last but excitingly we now know we're here to stay and so our 2022 English Riviera Winter Open is a real cause for celebration! Running from November right up until Christmas Eve, this annual show is a proper countdown to Christmas as we fill our gallery walls and plinths with collections to entice seasonal shoppers. As with our Summer Open this year, artists have the opportunity to submit up to 8 works for showing, with both selected and reserved works going on display across our exhibition spaces.. Continue reading for full submission information and we hope to see your work in show with us this Winter! Deadline for submissions is Midnight 23rd October Skip to submission form Opportunities: This is a selective exhibition, your fee and confirmation of terms entitles you to have your work judged by the selection panel for possible inclusion in the exhibition Up to 8 works can be submitted Works will have the opportunity to either be selected (these will be guaranteed to hang) or reserved (these will be requested for delivery and displayed in our studio gallery space; they may also be hung if space permits in the main space at our discretion) All successful artists will be entitled to supply, in addition to their accepted work: Up to three mounted and wrapped works for browsers or Up to three additional small for sale products such as catalogues or artbooks, and Greetings cards; either 5 copies of 3 designs or up to 15 original greetings cards All selected works will be showcased for a period of 8 weeks during the height of the tourist season on the English Riviera Exposure in the English Riviera’s premier selective exhibition gallery Opportunity for commercial sales of work Features in exhibition print and digital promotional material delivered via the channels of the exhibition curators and partner organisations Long-term exposure on the exhibition digital hub including micro-profile and the opportunity for additional features Selected artists may be recommended to our partner services to have their work featured in additional online listings Works under £200 will be promoted as part of our Artist Support Pledge work (see art-hub.co.uk/artistsupportpledge) Exhibition Awards including the English Riviera Award (selected by a guest judge) and the Audience Favourite Award. Submissions You can either make your submission below using the embedded form, or if you prefer, download a PDF copy, submit via Curatorspace, or load this form in a separate window here. Once you have made your submission, payment links can be found here: Single Entry - Pay Here Multiple Entry - Pay Here

English Riviera watercolourist Ashley Raddon was thrust into the spotlight earlier this year when he appeared on the return of the popular Watercolour Challenge on Channel 5. First airing back in the 1990s, Watercolour Challenge pits four watercolour painters against each other for a week of on location painting challenges. Competing against the clock, the painters visit scenic locations across their home region, capturing them in their chosen style and sharing tips along the way. Having retired from the Fire & Rescue Service in 2016, Ashley decided in 2017 to see if he could paint again after 7 years military and 26 years’ Service with Devon and Somerset Fire & Rescue Service. “Leaving school with only a self-taught art O Level, I always dreamed of attending Art School but was not academically gifted plus in 1981 my life was changed forever when my father took his own life aged 38 when I was 16. Shortly after I joined the military and never went back to art.” Ashley Raddon Fast forward to 2017 and Ashley was picking up a paintbrush again uncertain of how much he’d remember. Sales, awards and magazine features quickly followed with the Channel 5 appearance continuing a rapid professional development which leaves little room for doubt over his natural talent and the quality of his work. Ashley, based in Torbay, appeared on the Devon series alongside artists Faye Allison, Ken Maharajah and Kathy Jenner, painting on location at Royal William Yard, Dartington Hall as well as at home on our coastline from Meadfoot Beach. “My aim was to promote watercolours in a new way with a fresh approach but in a traditional way as did Seago, Hilder and Wesson.” Ashley Raddon Now, as part of Devon’s biggest regional art event, he’s been awarded the Artizan Grant which will see his work and studio practice showcased this September. Devon Open Studios features annually and is the highlight of the South West arts calendar, organised by Devon Artist Network (DAN), which promotes, celebrates and champions the regions arts. For 16 days, the networks members throw open their doors to visitors or otherwise occupy venues and spaces across the region, offering an intimate look at their work and practice, delivering demonstrations, and running workshops for visitors to partake in. For collectors, it is truly an unmissable event. As part of his award, Ashley will be this year’s Artizan Resident Artist, occupying their Basement Studio space where he’ll be working from and sharing his practice for the two-week event. Audiences can visit him throughout, see him work and find out more about his experiences on Watercolour Challenge, perhaps even taking away a piece of original work from this talented English Riviera artist. Devon Open Studios runs from 10th – 25th September and Ashley’s work can be viewed at Artizan Gallery, Lucius Street. For more information on the event and what’s happening across Torbay, visit www.artizangallery.co.uk/dos. Ashley’s works are available to reserve now at www.art-hub.co.uk/ex/dosgrant22 #AshleyRaddon #dosgrant22 #dos22 #torbaygrant22

#MarksGoingForAWalk - Update 29 July 2022 In a world of short attention spans and bite-sized information, taking an extended walk of hundreds of miles over a period of months, for many complex and interconnected reasons, was intended to be a deliberate break from instant gratification and a move into sustainable mental and physical health. 12 days and 145 miles in, visiting every step of coastline from Minehead in Somerset to Tintagel in Cornwall, I can now validate that assumption. On 30 July I start section 3, which will take me, feet, weather and wildfires permitting, from Tintagel to St Ives, therefore almost completing all of the north-facing aspect of the Path. So far, the journey has been about three simple things: 1. Self-care. I cannot walk if my feet are injured. I cannot climb hills if my lungs will not take in enough oxygen to allow me. I cannot carry weight or sustain distance if I am not fit enough. I have had to re-learn the lessons taken for granted in my youth: physical capability is predicated on constant self-care, and self-care on constant mindfulness. The physical body predicts mental capacity: as my physical health has improved, my mind has broadened and deepened to create the space for different modalities and dimensions of care. If we are not healthy, nothing works. 2. Journey. A mountaineer in my early life, outdoor experience has hitherto been about achievement. Peaks, height, conquering. The Path renders this thinking obsolete. The distances and achievements we humans impose on geography are arbitrary and practically meaningless. On the Path, height achieved is lost instantly, height lost must be regained in an endless undulation. The Path is not about distance or achievement, but how we travel. Nature just is. We just are. What is the nature of that relationship? 3. People. Splendid isolation was the aim – space to roam, think, romanticise, be. The great shock has been the constant interruption of others. “Hell is other people”, said Sartre - and initially at least, I was aligned to this thinking. But people help on The Path. The difficult recesses of wilderness are made easier by a fellow walker; the mind made healthier by shared hardship or a parched rest-stop in welcome shade. Intermittent meetings at different points along the Path become iterations of fellowship; fellowship into a richer experience in which all the light and shade of walking can be enjoyed, compared, unpicked. I think I might be a people convert. The additional aim for this project is to raise money for something outside of myself. I am walking for a charity that delivers aid in some of the worst point-of-stress locations and conditions on the planet. They are currently doing a lot of work in Ukraine delivering medical aid and emergency relief in support of other Ukrainian organisations. My target is to reach £100 for every mile walked, or £63,000 total. I have raised £3500 so far – and would greatly value some additional help if you are able! You can read my story and all about RE:ACT Disaster Response, as well as donate, here: https://www.justgiving.com/fundraising/thompsonart #MarkThompson #marksgoingforawalk #southWestCoastPath #REACTDisasterResponse #RaisingMoneyForUkraine #goforawalk