Yeah, sure. So at the V&A, we have an ongoing relationship with the Great Ormond Street Hospital in Central London. And the kind of projects that we did with them were made possible through funding from the Wolfson Foundation, which we were lucky enough to get support from each year. So we'd work with their arts team, and identify some different projects where we could bring arts, culture and creativity to children who were in their care at that time, who just weren't able to access them. So their arts team does an incredible job, they've got a really active programme for kids who are quite often in long term care there. One of the wards that we identified where children who were really isolated, was the bone marrow transplant ward. So when you're undergoing bone marrow transplants, which are usually done to strengthen you from the effects of cancer, or to remove cancer from your bones, you have to stay in a completely sterile environment. This means that you're pretty much in isolation for the whole day apart from a few staff who can come in and very select family visitors, they face stringent controls of who can come in and out, the type of cleanliness that you have to have, the processes you have to go through just to get into the room. So that means that, you know, it's really isolating time for these young kids, and on that ward, they can be aged anything from like four years old, through to 16. There's things for them to do, they have TVs in their rooms, they have books, and they do have all these resources, they don't have that much human interaction. So we were really exploring ways that we could bring some of the museum to them. So around that time, we're working with an initiative called Scan the Worlds, which is based on the My Mini Factory website. And that's a community led programme to try and scan the world's culture I guess, or physical culture. So there's bits of architecture, there's sculptures and people go out, they use photogrammetry, or laser scanning to create really great 3D models, which are shared openly, freely, through creative comments on their website, that can be downloaded, remixed, used educationally, used in any way. Some of it is a bit of a gray area to begin with, they were quite free and ready with just going into the museums with a camera, and scanning objects without anyone knowing what was going on. I really liked that about them. I like the fact that they were just getting out and trying to kind of bypass the quite arduous levels of bureaucracy that you often find inside museums, and instead saying, look at the amazing thing that we've created and how many people are accessing it. So we're working with them, and we’ve used a number of their scans or projects inside of the Museum, but it seemed like a perfect way to bring some of the V&As collections to children who were in isolation. So armed with tablets, and a 3D printer, we went into the wards, and we started to create heroic sculptures. So we’d provide them with different heroic sculptures from the collection, from across all ages, from sort of classical to modern, and the children would start to remix them, so they will start to remodel them. So we taught them how to use 3D sculpting software on the tablets, which they could use quite easily just with a finger. Unfortunately, bone marrow transplants also take away quite a lot of strength and dexterity, it causes epidermal skin problems as well. So it had to be something which, you know, didn't use a mouse and a keyboard and something which was immediately accessible. So by using this virtual clay, which was on the screen, they could start to re-sculpt the sculptures. So we'd go in over a few visits, introduce sort of a range of heroic figures and recreate a sort of a mascot for them which they can have at their bedside. And they'll create whole stories about this character, or they would use it to tell a story about their lives. And yeah, over a few sessions, which were often quite short because, you know, people get whisked off for treatment or for blood tests or whatever, or would just be too exhausted to do anything. So it has to be really flexible, so we work really closely with the ward staff, the place staff, and the arts team. It was a really wonderful experience. So people were creating wild and wonderful things, like a Baroque sculpture. How much do you get, you know, a nine year old to be interested in sculpture, but when you give them a chance to sort of create a story around it and make it their own, and then to have a physical 3D printed version, their own sculpture, their own work of art, which they can keep, by their side, it becomes a point for conversation. It's a really powerful way to get people engaged with collections that they would never engage with otherwise, and also have some kind of creative outlet, and which would take them out of their environment, you know, but instead, they were having this personal conversation, it was all one on one. And it was a distraction.