Shades of thought

Feature of Landscape1 by Clare Thatcher

Feature of Landscape1 by Clare Thatcher

The concept of painted landscape representing human emotions is intensely appealing to me. Stormy skies, wind-lashed fields and scenes verging on abstraction can all evoke a state of mind.

It’s a school of thought artist Clare Thatcher is fully enrolled in with her dark, contemplative layers of oil paint applied to linen or plywood.

Formation by Clare Thatcher

Formation by Clare Thatcher

“I’m a Contemporary British artist based in Bristol with a passion for painting,” Clare says. “I attended University of West of England from 2011 till 2014 graduating with a First Class BA Honours Degree in Drawing & Applied Arts, and then gained a MA Fine Art at Bath Spa University. Since graduating I’ve exhibited in London, Belgium, Nottingham, Bristol & Bath.”

It’s the psychological impression of a setting that she aims to capture in her paintings. “My work is deeply connected with a sense of place, taking influence from the idea of liminal space in landscape,” she says. “The locations I choose and the focus of my attention is highly selective, personal and resonant of individual landscape features and associated thoughts, emotions and reflections. The emphasis is upon the sense of contemplation within place.” Continue reading

Helena Park’s Shadowlands

Hinterland etching by Helena Park

Hinterland etching by Helena Park

Helena Park learnt at art college that self-motivation is key. “You must become your own agenda-setter,” she says. “Stay true to what you want to make and follow whichever direction it takes you in.”

It’s a lesson that has served her well as she’s pursued her aim of being a working artist.

We met at The Other Art Fair, where Helena was showing her beautiful yet unsettling etchings and monoprints depicting scenes of monstrous hinterlands.

Gossip etching by Helena Park

Gossip etching by Helena Park

“Books have always been my biggest resource,” she says of her inspiration. “When drawing a new series of initial sketches I usually spread out a selection of books around me and pick and choose imagery which catches my interest.”

Much of her work is figurative, so existing images of people with expressive gestures “like an Egon Schiele painting or photographs of dynamic movement” are key to her process. “Ancient art is another inspiration, in particular Mayan, Anglo-Saxon Christian and Ancient Greek artworks,” she says. “I find that there’s a visceral and expressive quality to such works which transcends time and remains relevant to contemporary life.”

Helena enjoys examining her ideas, while protecting their ambiguity. “My concepts for new work are always vague and I like them to remain so,” she says. “This leaves room for me to keep exploring ways of creating a tangible conception of those ideas. I’m drawn to other artists who create a world within their art that’ both highly stylised and immediately recognisable as the artist’s own. This is something which I try to channel and in my own practise.”

This instinctual yet informed approach offers a dark dreaminess to Helena’s work, which often seems to be capturing images from the shadowy subconscious. “Particular figures often reoccur in many of my etchings,” she says. “I like to repeat certain characters in order to test whether they have staying power. In effect, I’m developing a core cast of players in the work. I like the idea that viewers will be able to recognise reoccurring characters throughout the etchings and that through this repetition the characters gain a significance.”

The Conversation etching by Helena Park

The Conversation etching by Helena Park

She builds up images drawing from her own rich imagination as well as through close observational study of the human body.

“A good example of these different attitudes would be the etchings; ‘The Conversation’ and ‘Morning Light’,” she says. “‘The Conversation’ exemplifies my imaginative or stylised approach whilst ‘Morning Light’ comes from my desire to move away from just distorting the human body but rather to make a study of it in it’s true form.”

Morning Light etching by Helena Park

Morning Light etching by Helena Park

Helena created her etching Morning Light by tracing a photograph she’d taken onto a soft-grounded zinc plate. “A soft-ground picks up any impressions you make onto the plate,” she says. “I placed my photograph on top of the grounded plate and with a pen drew the lines of her body. This process is unlike using a hard-ground which requires you to scratch through the waxy layers in order to create a line which can later be etched.”

Other surface marks and textures were added using sugar-lift and spit-bite – painting with acid onto an aquatint. “Through these textures I could convey a damaged or corroded appearance to the girl’s skin which was suggestive of some organism growing on her or perhaps acts of violence,” Helena says. “This particular print led to my making a whole series of further etchings and mono-prints all of which used the same female subject.”

Helena’s core aim is to create a sense of another world, “within which exists a cast of characters I am constantly building on and adding to. The series of etchings entitled ‘Hinterland’ are my largest explorations to date of such an imagined world. I hope to keep exploring this concept in my future work.”

Life Study monoprint by Helena Park

Life Study monoprint by Helena Park

The palpable darkness in Helena’s work seems to be directly at odds with her sunny personality. When I comment on this, Helena is surprised.

“It’s gratifying to hear that you think that I seem cheery, but I admit to occasionally suffering from spells of hanger and that at the times when I have missed lunch my sunny disposition has immediately clouded over,” she exclaims. “In such moments anyone unlucky enough to have be in my vicinity has certainly caught a glimpse of my stormier side.”

As it happens, Helena doesn’t regard her work “as just being unremittingly dark or grotesque. I think that there is a healthy dose of black humour in the work. This comic aspect is very important as it is this sense of humour which I utilise as a vehicle to convey sensitive topics or my personal emotions in an accessible way.”

See more of Helena’s work and purchase art at www.helenapark.co.uk or on her Instagram account: helenapark_ where she regularly post updates on new projects.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judy(at)socketcreative.com.

In the footprints of Dylan

Seimon Pugh-Jones at the Tin Shed, Laugharne. Photo cr Graham Harris of GPhotography

Seimon Pugh-Jones at the Tin Shed, Laugharne. Photo cr Graham Harris of GPhotography

Dylan Thomas was born on this day in 1914, making it entirely appropriate to celebrate with an artist I met in the town where he wrote much of his poetry, and the play Under Milk Wood.

I encounter Seimon Pugh-Jones in Laugharne while exploring the Tin Shed museum – a marvel of a place dedicated to wartime memorabilia. There’s even an Anderson shelter in the back garden, and countless ephemera such as old letters and guides for American GIs posted in Britain with glorious cultural titbits such as ‘Reserved, not unfriendly…”

Seimon is one of the museum’s founders, with a background in film photography. He’s currently absorbed in painting all the characters from Dylan Thomas ‘play for voices’, Under Milk Wood.

Cherry Owen by Seimon Pugh-Jones

Cherry Owen by Seimon Pugh-Jones

I’d done stills photography for the History Channel. It was for a series called ‘Battle Stations’, which gave me a lot of experience in historical reconstruction pictures,” says Seimon. “That basically means, recreating images in the style of original WW2 pictures. Costume, props and vehicles had to be accurate to the period and then I would create a little story within the image to add some pseudo-reality, if that makes sense.”

Through “being at the right place at the right time”, Seimon was invited to work on Band of Brothers, supplying ‘newsreel’ style footage shot on a vintage camera. “I even got a bit part. That was an amazing experience,” he comments.

Gossamer Beynon by Seimon Pugh-Jones

Gossamer Beynon by Seimon Pugh-Jones

Seimon then became a stills photographer for an American history magazine called Armchair General. “I did ‘reconstruction style photography’ full time for four years, and loved it, but then my contract came to end and I was out of work,” he says. “Because I had a large collection of costume and props, I ended up opening the Tin Shed museum with a friend of mine, Andrew Isaacs, in Laugharne.”

After focusing on working on the museum for several years, Seimon was interviewed for a web-based photo-site. “One of the questions asked me was ‘What’s your next project?’ I’d committed myself to an exhibition of photography at a local gallery, and when I listened back to the interview, I realised I’d lost the enthusiasm for taking pictures.”

PC Attila Rees by Seimon Pugh-Jones

PC Attila Rees by Seimon Pugh-Jones

He adds: “I’m a bit old school, I love shooting on film and working in the dark room. There are some great photographers out there, but Photoshop and computer-manipulated images have taken the magic away from photography for me… But I’d made a promise to fill the gallery, so what could I do? I’d dabbled a bit with painting, nothing serious..so I though, Give it a go!”

Captain Cat by Seimon Pugh-Jones

Captain Cat by Seimon Pugh-Jones

He says producing portraits of Under Milk Wood’s characters was almost inevitable. “I live in Laugharne, virtually opposite to where Dylan Thomas is buried,” he says. “It’s a magical place and I quite understand how he got his inspiration for Under Milk Wood. This led me to take a photograph of a friend of mine, John Bradshaw, dressed as Captain Cat, with a fish on his head, (as you do) as a little photo project. It worked well as a picture, so I thought I’d paint him. It turned out ok. And as Captain Cat needs a Rosie Probert, she was next.”

Rosie Probert by Seimon Pugh-Jones

Rosie Probert by Seimon Pugh-Jones

Using the people of Laugharne as models for this was equally inevitable.

“Rosie Probert was another friend of mine, Lorrain King, who sings in the band I play for, Trenchfoot. That’s another story. As the paintings progressed, I realised I needed models…then I realised it would be so much fun getting my friends involved. So it went on from there.”

Mrs Ogmore Pritchard by Seimon Pugh-Jones

Mrs Ogmore Pritchard by Seimon Pugh-Jones

All kinds of details are to hand to bring the caricatures to life.

“Dylan Thomas has given the caricature such depth and richness, and a back story. I try and make the expressions realistic to those ‘moments’. I also try and incorporate subtle bits of humour.”

Running the Tin Shed museum offers endless opportunities for staging and painting the portraits. “I love vintage fashion, and having props and costume to hand makes it interesting too,” he comments. “The museum is not for profit, we can’t take a wage from it, so being able to paint around the museum, so to speak, is very handy.”

Evans The Death by Seimon Pugh-Jones

Evans The Death by Seimon Pugh-Jones

The lack of technology involved in his painting style is also appealing. “I suppose going back to ‘Old school’ works for me. I think art has replaced what I was missing in photography. It’s a new challenge.”

You can see more of Seimon’s paintings dotted around Laugharne, as well as encountering his models going about their everyday lives in a variety of settings around the village!

No Good Boyo by Seimon Pugh-Jones

No Good Boyo by Seimon Pugh-Jones

He admits that showing his models the finished works is always a tense moment.

“This is the nerve wrenching bit, because Under Milk wood is full of colourful caricatures. I have to make sure my models are comfortable with the casting. But so far, I’ve had a great response… Fingers crossed for the next series!”

Find Seimon at www.pughjones.co.uk.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judy(at)socketcreative.com.

An expression of love

DancinginMocoMoco#3 by Natsuko Hattori

DancinginMocoMoco#3 by Natsuko Hattori

Natsuko Hattori’s soft, curving sculptures are beguilingly sensual creations, yet they express sorrow and feelings of helplessness as well as love.

“In 2011, a year after I moved to New York, the earthquake that devastated the northeast Japan happened,” Natsuko explains. “It was very big thing for me. I lost contact with my family and friends for more than a week. I panicked and spent sleepless nights crying. I felt so powerless.”

Sculptures in blue by Natsuko Hattori

Sculptures in blue by Natsuko Hattori

Through her desperation, Natsuko began to wonder if she could do as an artist to express or alleviate these feelings, not just her own, but those experienced by others too. “In the end, I came to the conclusion that I want my art to make people smile, make them feel warm and tender at the moment they feel sad and down,” she says. “I decided to recreate through art what I feel when I think of the word love. To me, to love is to embrace, or to envelop someone or something with warmth, tenderness and affection. So I came up with the idea of wrapping cotton balls in piecse of cloth and putting them together to create a soft sculpture. This is how MocoMoco was conceived.”

SCULPTURES1 by Natsuko Hattori

Sculptures by Natsuko Hattori

She sees textiles as the perfect medium to t communicate emotions on a relatable level.

“Fabric is my medium of choice because people everywhere can relate more easily to this material, which conveys warmth, natural softness and the intimate human touch,” she says. “My works are all made up of my feelings and experiences. People who have seen my work for many years say that each piece of work represents my life and ideas. For me, the work is like a diary, which confines the feelings of that time. Just through looking at my work, I feel my thoughts from that time again.”

Find Natsuko’s sculptures at www.natsukohattori.net 

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judy(at)socketcreative.com.

Art worth climbing hills for

Urban Archaelogy 2 By Peter Ford

Urban Archaelogy 2 By Peter Ford

Art On The Hill returns to the Windmill Hill area of south Bristol on 7th-8th October, promising a wealth of exceptional creativity. I’ll be heading to 13 Cotswold Road to ascend the narrow stairs leading to Off-Centre Gallery. Printmaker and curator Peter Ford has long had me entranced with his unique view of the world, and this year he’ll also be joined by artists Dr. Michael McCaldin and Ruth Ander.

Urban Archaeology 1 by Peter Ford

Urban Archaeology 1 by Peter Ford

Other highlights I’m looking forward to include Stephen Mason’s ambiguous photography at 39 Gwilliam Street. Sixty artists have signed up to exhibit on the trail, so there should be plenty to tempt you.

Stephen Mason photography 2

Photography by Stephen Mason

Find full details and the trail map at www.artonthehill.org.uk.

The psychology of a landscape

Somerset Coast by Andrew Hardwick

Somerset Coast by Andrew Hardwick

Growing up deep in the north Somerset countryside played a role in shaping Andrew Hardwick as an artist.

In case you were wondering (I had to ask), saltings are grass land that are on tidal land, and are regularly flooded by sea water. Imagine that, a place occupied both by sea and land. My inner poet is in raptures.

These are among views that capture Andrew’s attention and inspire much of his art.

“I have a studio out at the farm and that enables me to collect all the things that are left over from farming,” he says, listing: “Decorating paints, PVA, plastics and pigments – soot and soils. I glue and cement it all together on canvas bound with wire.”

Valley and Wind by Andrew Hardwick

Valley and Wind by Andrew Hardwick

Becoming an artist was a process that gradually consumed Andrew Hardwick over a number of years. “It took quite a long time,” he comments. “The enthusiasm and fascination slowly built up, and before I knew it, it had taken over my life!”

Art classes and a part time foundation course contributed to his enduring desire to create. “I think when you go to art college they expect a level of seriousness and professionalism that cements it, that make you click and identify fully as an artist,” he says. “I’m now totally committed.”

In truth, it was seeded in his psyche from his earliest days.

The artworks themselves just come, Andrew says, “from doing lots of walks. They’re not immediate representations, not something I’ve seen and am recording in a straightforward way. Rather, they’re memories of a landscape, with lots of accidents in play in making the final artwork.”

The moods of his surroundings intrigue Andrew endlessly. “I’m interested in the psychological implications of a place, as I remember it,” he explains. “I do occasional works based on actual places – a recent exhibition was all based on Bodmin Moor, for example – but these aren’t pictures of specific views, rather the feeling of the view.”

Moor, White Sky, Sheep by Andrew Hardwick

Moor, White Sky, Sheep by Andrew Hardwick

Andrew enjoys the challenges of his work. “It’s all very personal and because of that it’s fascinating to do,” he says. “My passion for the landscape is a big part of it, but also the way I perceive it as mirroring my own state of mind. Finding ways to explore that is key to what I do – answering the questions in myself.”

He’s keen to dispel the myth that dark works are proof of a dark personality. “I work mainly around the estuary and Dartmoor so people might presume I’m a bleak person, but the opposite is actually true. I see my work as reflecting the power of nature and wilderness and the power of being alive. It’s wonderful being out in the rain with the wind blowing. It can be frightening, but it can also be spiritual – elemental.”

He adds: ‘I see a lot of joy in my work – it\s a celebration of life and living things.”

Andrew will be exhibiting at the RWA’s 165th Annual Open Exhibition from 1 October until December 3rd 2017. He will also be showing his work at the Totterdown Front Room Art Trail on 18th and 19th November 2017.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judy(at)socketcreative.com.

Stitch by glorious stitch…

Ian Berry artistOne of the features I’ve most enjoyed writing recently is Oh Sew Beautiful for Simply Sewing issue 34 (in shops and available to buy online now). It gave me the chance to interview five exceptional artists who use threads and fabric as their medium.

Harriet Riddell, Ian Berry , Jessica So Ren Tang, Nigel Cheney and Michelle Kingdom each create worlds of light, shade, texture and dreams using their textiles of choice.

India, Living Root Bridge stitch by Harriet Riddell

India, Living Root Bridge stitched by Harriet Riddell

Harriet captures the scenes and faces she encounters on her travels using a peddle-powered sewing machine. “I like to work from life and use my surroundings as a colour reference,” she says. “I love the tactile nature of textiles. I love textures and how strong the use of line can be when in thread.”

Detail by Ian Berry

Detail by Ian Berry

The gorgeous painterly quality of Ian’s artwork is achieved through hours of painstaking effort. “They take a long time to create, layering up the denim pieces and also finding the perfect shade,” he says. “When I open up the pocket, underneath you’ve got such a strong indigo, with a gradient to where the pocket opens. I see the fade in the cat’s whiskers, the amazing contrasts around the belt and a hem, and all of this allows me to use the denim like paint.

Blue Willow Plate detail stitched by Jessica So Ren Tang

Blue Willow Plate detail stitched by Jessica So Ren Tang

Jessica fell in love “with the softness and tactile nature of embroidery. I could create 3D objects and illustrative thread paintings with textile and fabric. It offered the potential to create something new and different.”

Nigel Cheney dog portraits photo by Sylvain_Deleu

Dogs by Nigel Cheney, photo by Sylvain Deleu

Nigel is passionate about fabrics. “There’s something about the quality of colour when it’s in a soft material that can’t be beaten,” he says. “The way that linen will have a faded grandeur and silk a bloom and depth of shimmering colour is so seductive. The tactility of different fibres, their textures and physical properties never fail to make my heart sing.”

Using threads was instinctual for Michelle. “While it’s inherently beautiful, there’s also something primitive, awkward and fragile about it, which strikes me as both compelling and honest,” she says. “Undeniably tactile in nature, embroidery touches not only the seamstress in me, but connects me to the memory of so many women with stories buried in thread that came before me.”

Life Will Divide Us by Michelle Kingdom

Life Will Divide Us by Michelle Kingdom

Michelle’s preferred technique is to use thread loosely as a drawing tool. “More and more I move away from traditional stitch technique and prefer to play with thread in intuitive ways to recreate the medium. I tackle one new piece at a time and continue to plough ahead on new ideas. The medium seems the best way for me to express my private thoughts, and its results still surprise me after all these years.”

Read the full issue in Simply Sewing issue 34.

Reasons to visit AAF Bristol

Channel Orange by Rowdy via Clifton Fine ArtToday the Affordable Art Fair returns to Bristol. *squealswithjoy* Brunel’s Old Station at Temple Meads is already filling up with gorgeous artwork, and I can’t wait to get down there!

If you are after something special and spectacularly original, it’s a great place to go with a wad of cash or a healthy credit card in your pocket. Galleries from across the UK will be representing some extraordinary artists. I’ll be looking out for the Clifton Fine Art stand, which will feature work by the likes of Harry Bunce, Steve Slimm and graffiti artist Rowdy, who painted the vivid beauty at the top of this page.

Waiting For The Cloads To Break by Steve Slimm via Clifton Fine Art

Waiting For The Cloads To Break by Steve Slimm

The fair launches with a Private Charity View tonight from 5.30pm – 9.30pm, and is then open on Friday 9th Sept from 11am – 5pm, with a late view from 5-8pm, on Saturday 10th Sept from 11am till 6pm and on Sunday 11 Sept from 11am till 5pm.

For me the best part is simply to meander the vast space of the Old Station, traversing corridors of exceptional art and letting it set my imagination alight.

Find full details here.

Art to rock your weekend

Seawall by Karen Stamper

Seawall by Karen Stamper

The Other Art Fair returns to Arnolfini in Bristol tomorrow, and I can’t wait! It offers up countless brilliant examples of the exceptional art being created, and I’ve met a few of my favourite artists there, including the wonderful Karen Stamper.

Look out for hand poke tattoo artist Sarah Lu aka Needle and Chopstick, screenings from Encounters Film Festival, plus interactive poetry feature ‘I, the Poet. You, the Poet’ by the Cole sisters, Biba and Laurie. There will also be masses of exceptional exhibiting artists. Don’t miss Rosario Galatioto, Evie Kitt, Alan McLeod, Grace Green, Richard Heys and so many others, along with Karen Stamper who will be there again with her vividly atmospheric collage work.

Not Ready To Tell by Karen Stamper

Not Ready To Tell by Karen Stamper

The Other Art Fair is at Arnolfini, 16 Narrow Quay, Bristol BS1 4QA from 1st-3rd September 2017. The opening night is 5-9.30pm on Friday, with the show continuing from 10am till 6pm on Saturday and till 5pm on Sunday.

Find full details and buy your tickets here bristol.theotherartfair.com.

Remembered textures

Giselle, detail, oil on linen, by Sophie PloegI love to run my fingertips over beautifully enticing fabrics. Artist Sophie Ploeg is playing with our tactile desires through oil paintings and pastel works that tempt the eyes instead of our sense of touch. It’s a skill that’s somewhat confusing at first glance, as our mind conjures memories of these fabrics against our skin, filling in the information presented by sight. In the same way that a description of food can make us salivate, Sophie feeds other more sensual urges simply through pressing colour to canvass or page in such as way that she perfectly captures the play of light and shade and the texture of draped fabric.

The Shawl, oil on linen by Sophie Ploeg

The Shawl, oil on linen by Sophie Ploeg

After growing up in the Netherlands, Sophie has made her home in England for a very simple reason. “I fell in love! During my research for my PhD, I spent a lot of time in London in various archives and libraries,” she comments. “I met my British husband during these trips and decided to stay. It has been nearly 20 years now and until Brexit I could not imagine ever going back. I am completely integrated and at home here, though I do admit a preference for Dutch cheese.”

Despite Brexit, Sophie is hoping to remain in the UK. “I will stay as this is my home and this is where my children are growing up,” she says. “I love Britain for its love of history and its beautiful nature but I will remain a Dutchie in my heart.”

A passion for art, architecture, photography, fashion and theatre have provided Sophie with the foundations of her life here, but it’s her experiments with recreating lusciously textured textiles in her artwork that caught my eye.

Looking Back, detail, oil on linen by Sophie Ploeg

Looking Back, detail, oil on linen by Sophie Ploeg

“I was always fascinated by painting various textures and have tried to challenge myself with painting water, rocks, sand and so on,” she says. “When I tried fabrics I was hooked.”

To up the ante, Sophie started painting depictions of lace. “This has kept me busy for a few years now,” she says. “It’s still a challenge to really capture the crisp, transparent qualities of the fabric and I doubt I will ever be totally happy about my efforts. Other fabrics like velvet, silk and patterned woven or printed textiles supply an endless source of inspiration.”

Her favourite materials when drawing fabrics are oil paints and pastels. “Other artists might get on better with watercolour, digital mediums, photography or even textile itself,” she comments. “I love oils for its depth of colour and pure beauty. It can make the deepest blacks and the richest blues or reds. With glazing and scumbling you can create beautiful effects. It is hugely versatile and easy to use, it doesn’t dry up and you can play with it endlessly.”

She also loves the precision required to get the most from pastels. “They are very direct in that you cannot pre-mix colours. You have to layer colours in order to mix, which not only forces you to learn about colour but also automatically provides textures and depth.”

The Ritual, oil on linen, by Sophie Ploeg

The Ritual, oil on linen, by Sophie Ploeg

For Sophie, fabrics are brimming with stories – lived, invented and imbued. “Fabrics are full of associations, and history,” she says. “They are tactile and sensuous. They are used for fashion and home furnishings, film and theatre costumes, drapery, sails and sacks. Many people have memories evoked by clothes, many have associations with certain types of textiles. It is one of the richest sources of inspiration for me and I hope to evoke these associations in my paintings. The most lush fabrics such as lace, velvet and silk are the most fun to work with as they are so beautiful and take us to another world of history and imagination.”

Winning the BP Travel Award in 2013 and having her work exhibited at the National Portrait Gallery in London has given my career a very definite boost, she says. “It was a fantastic experience to not only be included in the show and the buzzing activity that surrounds it, but to have an opportunity to really dive deeper and combine my love of art history with my love of painting,” she says. “It was a proud moment to have a series of works on show at such as prestigious location.”

White Dove, oil on linen, by Sophie Ploeg

White Dove, oil on linen, by Sophie Ploeg

Sophie is currently working on a new series of paintings that springing from her imagination, with some inspiration sourced from works by Old Masters. “These works are freeing me up to experiment and play a little, both of which most artists need to develop their work,” she says. “I am sure this period will help me move my work onwards, and I am excited to explore where it will take me.”

Sophie is also writing about art, art history and painting on my blog and for other publications, “which I enjoy immensely. Find more about me and my work on www.sophieploeg.com.”

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judy(at)socketcreative.com.