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Event date: 15 November 2025
New bridge providing step free access into Norwich Castle Keep
A group of ncas members were given a tour of the recently completed Norwich Castle keep, a five-year project to restore and reimagine the Norman Keep.
The tour was led by project leader Erin Davidson and Dan Towers of Feilden+Mawson Architects and provided an opportunity for those interested to dig into this prominent conservation project.
Event date: 14 October 2025
Review by Danusia Wurm
Right to left: Oliver Creed, Mike Chapman, former ncas Chair Keith Roberts and David Jones
Echoing the 2024 ncas exhibition, Post War: People and Place, that showcased the work of Robert Fox and Leslie Davenport, the evening at Norwich School’s Blake Studio was another brilliant time-capsule, this time transporting us back 35 years to the early 1990s.
Pre-dating a period marked by the rise of youth and popular culture and a shift towards individualism, we witness three artists beautifully captured in Mike Toll’s superb cinematic portraits “just being themselves.” Even better, all three artists were present to witness their honest, unselfconscious, younger selves to the delight of an enthusiastic ncas and Norwich 20 Group audience.
Eloquently introduced by former ncas chair Keith Roberts (whose excellent notes I have unashamedly plundered) the films were made in1989 and 1990 in VHS format. They were transcribed to a more user-friendly digital format by ncas and the Norwich Twenty Group in 2018. All the films have now been deposited through Dr Nick Warr in the East Anglian Film Archive.
On the films themselves, Keith wryly comments, “Even after only 35 years the films do seem curiously dated…. - it’s hard to pin down why, but even their voices seem to be from a slightly different era - but their key interest is the tight focus that Mike Toll brings to the artist’s materials and methods, about how artists in practice make their stuff”.
Mike Chapman in his studio at St Ethelreda’s
“An artist is not joined to his work. The work has its own integrity and life”
Mike Chapman: Thinking With My Hands
Thinking With My Hands, was made in 1989 and follows Mike through the priest’s door and into his studio in the round-towered, St Etheldreda’s artist’s church in King Street. Keith comments: After some great drawings, and he really can draw, he goes on to describe in detail his approach to 3D and to 2D work, a distinction he rejects. In the film, Mike categorically states “I’m not a sculptor or a painter.”
He goes on to describe his huge appreciation of Van Gogh’s strong, ‘real’ paintings and drawings; Picasso’s sense of ‘fun and abundant inventiveness’; Rodin’s sculptural fluidity and Russian constructivist Tatlin who used new experimental materials such as zinc. To Mike ‘excitement and inquiry’ in the practice of art are very important.
A modest man, but a real artist, Mike continues to follow his ‘Constructivist’ line of enquiry in 3D and 2D art today.
Oliver Creed
“Sculpture is a form that describes itself”
In this film from 1990, Oliver is three years out of art school as a mature student and looking young and dapper. He talks confidently about his Contact Gallery show, Working an Edge. He covers his earlier work as a boatyard welder before talking in detail about the various considerations he takes before making a work, mostly with cement or plaster but all with a strong emphasis on structure with a capital “S”.
He is particularly concerned with how a sculpture exists “outside of itself”; how it connects with another 3D form “stripping away associations to make the object its own thing”. A quintessential object maker and modeller, for the last decade, Oliver has been working exclusively in ceramic stoneware which still maintains its strong architectural flavour.
David Jones
“I paint the world immediately around me - from what’s about”
The film David Jones covers a lot of ground. Drawings and paintings and prints, but all with a clear central preoccupation with the real world around him, whether it is friends and family, mannequins in a shop window, the urban landscape, allotments, scrapped cars, castles, canals or street plans. David explains “Much of my work is about history. What interests me is how we can see evidence of the past around us.
In terms of carrying out the work, drawing is an essential basis together with a strong pictorial style. He is constantly looking for balance. He says, “A painting has to have its own discreet arrangement.”
Colour is also very important. He says, “Colour resonates to create atmosphere like notes or chords in music.” Influenced by, but not “explicitly following” artists including Braque, Matisse, Bonnard and Derain, he continues to be a serious observer of where and how we live.
In all, it was a wonderfully evocative and uplifting evening, which not only explored the aspirations and practices of three wonderful artists but also shone a light on the fascinating social history of the early 1990s.
We remain forever indebted to Mike Toll.
ncas would also like to thank Norwich 20 Group for their enthusiastic partnering in this event and Norwich School for their excellent hosting.
Event date: 18 September
Review by Danusia Wurm
Image of Daniel & Clara from their publication Birding
Touched by Adam and Eve
It’s not often that an artist’s presentation is so eloquent and haunting that it’s hard to describe it in words. Such was the talk delivered by the artist Daniel & Clara to a captivated ncas audience at Norwich School’s Blake Studio.
“We are the work and the work is us”
Since meeting in 2010, the artist Daniel & Clara have lived a shared life of creative experimentation across a wide range of media, exploring the nature of human experience, perception and reality. Their art is solely based on their life experience, where they intensely observe the inner and outer landscape of themselves and that around them.
At its core, their practice is a meditation on the human search for meaning and the ways we attempt to make sense of our existence during our brief time on this planet.
Whilst the moving image and performance lie at the heart of their practice (this is how they met), Daniel & Clara also use digital, analogue and lenticular photography, installation and, unconventionally, mail art - correspondence and small images sent by post, originally to complete strangers (in an effort to connect) and latterly to subscribers. The mail art is particularly worthy of comment in that at a time of the “short read”, sound bites and endless scrolling, Daniel & Clara produce the opposite – exquisite often haunting text, that conjure up images of hyper-focussed clarity imbued with an underlying sense of atmosphere and place.
Extract from Letter 7 of “The Naturalist Letters”, Daniel & Clara
Daniel & Clara do not dictate how the viewer might perceive their work.
“One thing we are always trying to do is to place the viewer or reader at the centre of the work in some way, to not make art that tells them what to think or feel but to create a space where they can become conscious of their own thoughts or feelings”.
The viewer enters very much at the artist’s invitation. Echoing the work of sculptor and environmentalist Sir Richard Long RA (also a previous ncas speaker), their work appears to slow down time. As Amanda Geitner eloquently puts it “There is a hallucinatory intoxication to the body of work”.
“Two humans. One artist ”
The quantum leap from the “inner” to the “outer” came from a seminal visit to the Avebury stone circle in Wiltshire in 2017 where the relationship between nature and the human psyche rang out to them like a clarion call. Their “cataclysmic” encounter with Avebury led Daniel & Clara to permanently move to the UK in 2018 and begin make work in response to the British landscape. This period produced, amongst other works The Avebury Letters - letters written from the perspective of the Avebury stones! It was also at this time the artist first appeared in front of the the camera as its subject, transitioning from the “observer” to the “observed”.
2020 found them in lockdown on Mersea Island, near Colchester in Essex. At a time fraught with tension, isolation and anxiety, they noticed a “turn up” in the volume of nature. This is beautifully captured in On the Island a series of 100” videos “like small notes, sketches or diaries” which document the eerie stillness of the pandemic, interspersed with the insistent calls of nature. Other works at this time include The Yellow Letters (yellow being the colour associated with illness and disease) which describe the artist's isolation during the pandemic.
Throughout 2022 Daniel & Clara presented Landscape Imaginary, a series of exhibitions and events of their work across the East of England. This was accompanied by the publication of the first monograph about their work. Their continuing fascination with the “observer” and “observed” continued with Birding (2023) a body of work about the human gaze, exploring the optical and psychological processes at play when humans look at nature, and Birds and Beasts a poignant series of hand-painted photos of dead animals encountered in their daily walks. Daniel & Clara say “Painting became a way to have a deeper engagement with the subject and to bring into the photograph… a vitality of life while lived …” The series is ongoing.
A Sudden Downpour, The Lost Estate, Daniel & Clara
In 2024, commissioned by Norwich Castle Museum & Gallery, Daniel & Clara produced The Lost Estate, a series of six large-scale photographs that explore the sometimes fraught relationship between humans and the natural world through imagined narratives taking place in the gardens of a country estate. The series was conceived in response to the work of the British 19th Century Romantic movement, particularly John Crone.
Going forward, Daniel & Clara’s work continues to focus on the complex relationship between humans and the natural world, particularly exploring the climate crisis as a psychological crisis.
“We feel like Adam and Eve at the end of the world confronting the beauty and terror of existing”
Their latest work "ANGELS" (September 2025), is a series of painted photographs of Exeter Cathedral's eroded stone angels. Covered in layers of green paint the angels emerge and dissolve suspended in an absence of absence and presence. For the artist, these fragile weather worn figures have become a powerful metaphor for the erosion of traditional structures and shared myths. “In a world where such guiding narratives have faded, ANGELS expresses a deep sense of disorientation – a longing for meaning, guidance and connection”.
It seems somehow appropriate to close this essay on the subject of angels. Mysterious extensions of a higher power, these otherworldly creatures are often seen to presage momentous events. It calls to mind Daniel & Clara’s practice in response to the ongoing climate crisis.
Their art is inquiring and reflective but also fiercely analytical and visionary. It permeates with a quiet wisdom and space to think.
Our thanks go to Daniel & Clara for their superb presentation, to Lisa Newby, Curator of Modern & Contemporary Art at Norwich Castle Museum & Art Gallery for her excellent introduction and to the Norwich School for their effortless hosting.
Event date: 15 May 2025
Review by Danusia Wurm
Trevor Burgess at the Blake Studio, Norwich School
Artist David Hockney has said, “I prefer living in colour.” And this could apply equally to artist-curator Trevor Burgess whose beautifully articulated talk explored the “slippery” properties and perplexities of colour and how artists attempt to render its sensation.
Exploring the difference between the colour of paint and the colour of light; colour as space and colour as light, Burgess took the audience on a journey that was part science and part experiential. As Burgess succinctly puts it “How inadequate words are for describing colour sensation! That’s why artists use paint”.
Most of Burgess’ work relates to his daily visual experience. “I usually paint from photographs I have taken. In making paintings from these I am seeking to recover a memory of something I saw and what I felt about it”. Inspired by a quote attributed to Plato "A thing is not visible until it is seen", Burgess is also motivated to depict elements of contemporary life that are not often treated in painting. He says “Painting has an important role in making things seen”.
Quoting Plato is not surprising given that Burgess initially studied literature, going on to train and work as Assistant Curator at the Norwich Gallery for four years at the time of the establishment of the ‘East’ international exhibition. He founded and steered the development of the Warehouse Artists’ Studios in Norwich, where he was based from 1990 to 1997.
Completing an MA Winchester School of Art in European Fine Art, Burgess moved to Barcelona in 1997. During this period he produced a series of large, figurative paintings exploring the relationships of families and children.
After returning to the UK in 1999 to live in London, he became interested in the characteristics of the urban space around him as subject matter. He began using his own photographs of people’s daily lives in the city as a source. A strong and constantly recurring theme of Burgess’ practice is his painting of street market stalls and shops in his home city of London and various other urban settings painted during his extensive travels.
“Living in a city I am affected by the urban environment around me, and for over twenty years my paintings have been a celebration of London's street life and diverse communities. I am interested in social and cultural expression in public space, and civic life in cities. I have also travelled extensively in Europe, Latin America and India, which gives my work an international perspective”.
A series of paintings of homes in London called A Place to Live, inspired by images in newspaper property adverts, took Burgess in a new direction, winning acclaim from Time Out’s art critic Ossian Ward for The Discerning Eye 2011.
In 2015, he received a commission from Townshend Landscape Architects for a triptych painting of Granary Square, the centre-piece of the King’s Cross development in London. This generated a series of studies and related paintings.
In recent years, Burgess has become more explicit in asserting and writing about the social context of his paintings, opposing insular, exclusionary and divisive tendencies in UK politics and society. Specifically, the twin crises of Brexit and the Covid pandemic provoked a radical rupture in his work, in which he began experimenting with inverting colour in his paintings.
“My inverted colour paintings were an experiment to see whether colour, the intrinsic material of painting, might be mobilised to oppose and challenge those who seek to foment division and conflict”.
The view of Birling Gap and the Seven Sisters cliffs on the South coast of England was the first painting Burgess produced in inverse colours. He made it the day immediately after the Brexit vote (2016). At its centre is a Union Jack flag, torn, also with its colours inverted.
Equally totemic is where Burgess’ inverts the colours of a painting of the Port of Dover (after Oskar Kokoschka) who fled to Britain from Prague in 1938. “My inverse version of Kokoschka’s painting was completed during autumn 2019 at the height of the parliamentary crisis over Brexit. The painting expressed my fear and forebodings, by making visible the national reversal of the European values that Kokoschka held dear”.
The Inverse Colour paintings were first shown in a solo show at Flashback, London in 2021.
Throughout, a key aspect of Burgess’ practice is his extensive collaboration with other painters, exploring the social context of painting. Where We Live, a national touring exhibition (2021-2023), brought together five artists who examined under-regarded aspects of the social landscape of England.
Most recently (2024), in collaboration with Raksha Patel, Burgess has curated Standing Ground, an exhibition of twelve British artists who use paint to depict the landscapes that belong to them. Collectively, their work offers an intersectional and intergenerational conversation spanning six decades of life in post-war Britain through examining what it means to paint the place that we live in today.
ncas wishes to thank Trevor for his superbly delivered and highly stimulating talk and to the Norwich School for their effortless hosting of the event.
Event date: 30 April 2025
Review by Selwyn Taylor
Bruce Gernand’s studio is in the grounds of The Old Manor on the outskirts of Garboldisham in Suffolk.
Thirty ncas members visited Bruce on a wonderful warm, late spring day and were made most welcome in his sprawling home, studio and garden containing Bruce’s working studio and an outer building housing his archive of past projects.
Bruce originally studied philosophy during the political upheavals of the late 60s in San Francisco. He moved to England to study sculpture, blending the formative intersection of American minimalism and the more lyrical sculptural references practiced in Britain.
Bruce became interested in the potential of digital imaging. For some years his work has negotiated and searched for a relation between the digital and material. Using 3D computer modelling and transferring this data into material form has been a challenge rife with welcome conundrums and paradoxes.
During his time as a Senior Research Fellow at Central Saint Martins, Bruce undertook an AHRC funded project, Coded Chimera (2011), which explored the transformation grids of D’Arcy Thompson in collaboration with the Natural History Museum and the Computer Lab at Cambridge University. The convergence of zoological form and computational strategies was guided by a rather un-scientific and poetic concept: the chimera, a composite which makes a link with a long tradition in art where unfamiliar conjunctions act as repositories of our own imaginative projections.
Bruce Gernand with ncas member
ncas would like to thank Bruce for a wonderful tour through his philosophy and resulting work.
Event date: 4 April 2025
Review by Janey Bevington
Hannah Higham at Norwich School Blake Studio
The Royal Academy of Arts (RA) surely must be one of the UK’s most iconic and well- loved institutions, but how much do we know of its history and its role today?
ncas members were treated to a fascinating overview and a deeper dive by Dr Hannah Higham, Senior Curator at the RA.
The RA was founded in 1768, with a petition to the King signed by 36 artists and architects seeking permission to "establish a society for promoting the Arts of Design". They were the original Royal Academicians. What’s more, they also proposed an annual exhibition (now known as the Summer Exhibition) and crucially, a School of Design. It is this aspect which sets the RA apart from other museums and galleries. As an Academy fostering contemporary fine art at their elite RA Schools, the RA not just promotes the appreciation and understanding of art, but also its practice.
The first RA President was Sir Joshua Reynolds; amongst other founding members were Mary Moser and Angelica Kauffman who flew the flag for women in 1768. Other past Presidents, notably architect Sir Edwin Lutyens and painter Sir Alfred Munnings, courted controversy with their public dislike of ‘modern art’.
Hannah explained the, now many, aspects of the Academy, the curatorial staff being only part of the vast number of employees. Others are involved with the international loan exhibitions that were started in the late 19th century. Prior to this, there was only the annual Summer Exhibition. There’s a vast PR staff and those involved with day to day running, plus teachers and students in their RA Schools.
Since she arrived, Hannah has been involved with displaying the teaching collection at the RA. She explained that the Life Drawing Room is one of the most important rooms in the RA and has recently been restored along with the reinstallation of the marble busts used as models by the early Academicians.
It showcases anatomical drawings, engravings by and after Old Masters such as Rubens, Van Dyck, Goya and Tiepolo; plaster casts after the antique and écorché casts from dissected bodies; photographs from Eadweard Muybridge (Horse in Motion) and copies after Old Masters including an 16th-century copy of Leonardo’s Last Supper.
Hannah illustrated her talk with stunning photos of some of this significant collection that includes works dating from the 18th century, ensuring that she picked out contemporary pieces for the discerning ncas audience!
The RA vast collection is free to view and now contains about 935 paintings, 350 sculptures, 700 plaster casts, 25,000 prints and drawings and 5,000 historic photographs. The Collection's central focus is on British art and artists from the 18th century to the present day.
The collection includes paintings by JMW Turner, John Constable, John Everett Millais, John Singer Sargent, Stanley Spencer, David Hockney and Frank Bowling; sculptures by John Flaxman, John Gibson, Eduardo Paolozzi, Elisabeth Frink and Yinka Shonibare; and architectural drawings by John Soane, Edwin Lutyens, Colin St. John Wilson, Zaha Hadid, Richard Rogers and David Adjaye.
ncas would like to thank Hannah for her excellent and beautifully illustrated talk and the Norwich School for hosting at the Blake Studio.
Hannah Higham with ncas Chair Chris Mardell
Event date: 25 February 2025
Review by Danusia Wurm
Circle in Africa. Mulanje Mountain, Malawi, 1978
Imagine a slowing down of time. Imagine “seeing” stillness. Imagine the celebration of a journey’s end.
This was the experience of the sell-out audience at Sir Richard Long’s fascinating and magnificently illustrated talk, which took place at the Norwich University of the Art’s state-of-the art auditorium.
Richard Long has been at the forefront of land art for more than half a century. A pioneer of conceptual practices in the 1960s, his expanded approach to sculpture has consistently taken the medium out of the studio into the natural world and around the globe, using time, space, distance, navigation, perception, the elements and the geological forces that have shaped the landscape around us as both his tools and his vocabulary. Long has sited sculpture on all five continents, as well as in many of the world’s most significant galleries and museums.
“My work has become a simple metaphor of life.”
Long’s practice involves walking great distances in the wilderness, then pausing to make works referencing natural and cosmic phenomena experienced along the way. He uses walking, therefore, as both medium and measure, and his works act as a direct response to the world in which he lives. This way of working offers the potential to make sculpture anywhere and at any time, free from the constraints that can otherwise arise with producing art.
Using earth, rocks, sticks and other natural materials and forces ranging from water and gravity to clouds and constellations of stars, Long leaves a mark or arrangement within an ever-shifting elemental terrain that exerts its own laws of regulation over the end-result. This is his way of expressing ideas about time and space, and what it means to be human when removed from the cacophony of contemporary life.
People constantly ask Long ‘why always circles and lines and walking?’
“Every place in the world is different, so even though I might be repeating circles, every circle is different. The archetype of the circle emphasizes the cosmic variety of everything, and this gives it its power, beauty, understandability, and resonance”.
“I’m not a political animal. I’m an artist animal. ”
Given his affinity to the natural environment, people also question whether Long is an environmentalist.
Long says “Green politics wasn’t really invented when I started. My work comes out of wanting to make art in new ways. The world outside the studio represented a fantastically colossal opportunity to engage with the physical world. It was my interest in making new art that took me into the landscape. I’m not a political animal. I’m an artist animal. But obviously my work does celebrate nature and the wonderful landscapes that cover most of the planet.”
“I wouldn’t be the artist I am without a camera”
The simple majesty of Long’s physical sculptural works is matched by his remarkable photography, which records it for posterity. He says “I wouldn’t be the artist I am without a camera. It’s a bridge to how my works find their way into the world. You know what I do because I have shown you what I have done”.
Long’s accompanying words describing his philosophy and art work, realised in numerous books, are equally as powerful. Perhaps put at its most eloquent, he says “I go into the world with an open mind”.
ncas would like to thank Richard Long for his totally absorbing narrative and Norwich University of the Arts for hosting and their excellent help on the day.
I would also like to namecheck Nicolas Wroe, Patrick Barkham and Ina Cole whose excellent articles I have sampled.
Event date: 13 February 2025
Review by Danusia Wurm
Poster featuring David Pearson for Melbourne Writers Festival 2015, David Pearson
In a lively and beautifully illustrated talk, acclaimed book designer David Pearson took us on a fascinating journey focusing on the creation of a book cover from original concept to the final product, with many intriguing diversions along the way.
Graduating from Central St Martins in London in 2002, David cheekily blagged a job at Penguin Books where he worked as a text designer and later, cover designer. His cover design for Penguin’s Great Ideas series in association with fellow designers Phil Baines, Catherine Dixon and Alistair Hall, earned him international recognition, as did his wonderful covers for French publisher Éditions Zulma.
He left Penguin to establish his own studio in 2007 where he has since worked with some of the world’s leading publishers and authors including Margaret Atwood, John le Carré, Cormac McCarthy and George Orwell.
David specialises in print-based design. Like an artist, he works with lettering in an expressive way, seeing letters as “individual characters” on the page. His craft is to “lead the eye around the page” and then - the big leap - from the front cover onto the first page.
Describing the process, once he accepts the brief (note: David never gets to choose his books) his first step is to set certain parameters and limits. “Book design is at its most fun when you’ve got something to kick against”. But the core elements of good design, clear vision, coherence, and an ability to convey a story, always remain.
Perhaps fostered by too much time spent in Penguin’s vast archives in Rugby as a young intern, David positively relishes the meticulous research into suitable period titles, fonts, words and images used to give the cover context, imbuing it with the right look and feel. The cover might be text or illustration led. As illustration isn’t David’s forte, he is in the happy position to employ illustrators that he admires and has always wanted to work with.
The collaborative process with illustrators, fosters innovation and imagination. Creating a different visual language for each book is hugely stimulating. And as someone who enjoys “spinning plates”, David is happy exploring a different approach every time.
Looking to the future, David is optimistic about the world of books be they material or in the ether. To this end, he acknowledges the huge significance of social media. “Tic Toc has made reading cool” he says. Additionally, he cites the growth of Zine culture, which is exciting and accessible, as helping support book sales. Successful “cover reveal” launches on Instagram can hugely influence sales. You heard it here first... authors now care about their book covers!
Right to left: David Pearson with Andy Campbell, Norwich School, Blake Studio
ncas thanks David for his superb insight into the world of book design and Norwich School’s Andy Campbell for his introduction and excellent Q&A.
With typical modesty, David didn’t mention that he has been listed as one of Britain’s Top 50 Designers by The Guardian, is a member of the prestigious international association Alliance Graphique Internationale (AGI) and in 2015, was appointed Royal Designer for Industry, the highest accolade for designers in the UK. He is also founder of The Book Cover Review.
Event date: 29 January 2025
Review by Janey Bevington
Elements Panel 5. Climate-Society Interactions 1850-2020 by Gennadiy Ivanov
Alan’s beautifully illustrated talk led us through history using artists of the day as a reference at every step.
For many of us it threw light on the meaning of the word ‘Contemporary’ and we came away with the realisation of how art of its time has manipulated our ideas of history as we know it today. Contemporary applies to any piece of art that has been created in its day.
Alan’s carefully chosen illustrations obliged us to reflect on how, before man’s ability to write, his drawings and sketches are all we had to record life. Artists had the power to manipulate our understanding.
This unusual approach to art gave members an enlightened look on many aspects of what art, through the ages, has given to our world.
ncas thank Alan very much for giving up his time to talk to us about what we know is one of his favourite subjects.
Right to left: ncas Patron Alan Walters and ncas Chairman Chris Mardell
Event date: 16 January 2025
Review by Danusia Wurm
Audience at the Mike Toll Film Archive screening, Blake Studio
“What a superb evening we shared last night”
The first of ncas’ 2025 events kicked off with wonderful evening held in association with Norwich 20 Group, screening films on Bernard Reynolds, Kathleen MacFarlane and Brüer Tidman from the Mike Toll Film Archive.
Mike was a practising artist and inspirational teacher who was passionate about furthering the arts in Norfolk. A member of Norwich 20 Group – where he was twice Chairman – he was instrumental in setting up the Contact Gallery in Norwich which provided exhibition space for local artists. On retirement, he threw himself with renewed energy into making films of different local artists’ practice. After his death in 2018, ncas and Norwich 20 Group transferred Mike’s VHS tapes into a more usable digital format. They now form part of the Norwich City Archives.
Although the films were mostly made in the 1980s and 1990s, they remain remarkably fresh reflecting the passion, work ethic and intellect of all three artists. Mike cleverly allowed ample space for them to tell their stories, supporting the narrative with well-researched stills and other film material.
The films were prefaced with superb vignettes of each artist by Keith Roberts former ncas Chairman.
Given the very positive audience reaction to the evening, we hope to screen other films from the Mike Toll Archive later in the year.
Watch this space for details!
Works by Bernard Reynolds
Works by Kathleen MacFarlane
Works by Brüer Tidman
ncas wishes to thank the Norwich School for their continued support and hospitality.