 I'm Jonathan Wright. I'm a director of Clear Wild Caves and I still mine Okra from the mine. Perfect. I'm afraid it's very basic because we've sort of disrupted everything but it's pretty basic normally anyway. Yeah this is how I process. I explained this is the drying cabinet where I dry the Okra after I've washed it. And I put it into small trays so that it evaporates easily. Right, right. Now does this heat it at all? Yeah, I keep it around 60 degrees to heat it. 50 to 60 and it takes a day or so for it to begin to dry. Okay, okay. So like a low oven. So there's a fan in there that pushes the earth around. All right. And so when the Okra is coming out of the mine it's coming in chunks like this wonderful purple here. Yeah this is how it comes out. And so I pour it into buckets and then stir it up in water. And the fine particles rise obviously and the heavy particles sink. And so you can pour the water off, the coloured water into another bucket. And then you leave it overnight and then the two separate so you get clean water with a silt of iron oxide in the base. And that's the fine pigment. Okay. I sometimes do it two or three times to get the finest pigment. Right. And then once I've got the sludge I pour the water off and then put the slurry into trays like this when it's dried. Okay. And then once it's dried I can put it into jars and sell it. Right. Oh that's beautifully fine I guess. Yeah. Is it? I don't know really this is just what I do. Yeah. So I don't compare. Yeah. It's nice. This is like a chalky material really. Oh yeah. Yeah and you could use this just like a pastel couldn't you? Yeah. Just draw with it. Oh yeah. Nice chocolatey. I don't think I've got a red. So this is the raw material. Yeah. No wonder that was famous. And then if we take a piece of it. Again this is from the mine just straight. And you can see the color. Oh wow. Yeah. Yeah. They're so gorgeous. And what a range of color.