DRIFT 17

Volume No17

£10.00

Etched

in TIME

Revealing intricacy and abstraction in monochromatic detail

THE

PIN NAC LE

OF

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L U X U RY

L I FE STY L E

I N

C O R NWA L L

03/12/2021 10:33

We understand Cornwall’s most exclusive homes better than anyone As we enter the winter, the number of properties for sale are at a record low whilst demand from buyers remains at near all time highs. If you are planning a move in 2022, the early months of the new year are likely to be among the best of the year in which to sell

Please get in contact to discuss how we can help to maximise the value of your property rohrsandrowe.co.uk

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T HE

PINNACLE

OF

L U X U RY

L I F E STY L E

I N

C O R N WA L L

rift drift

noun 1. the act of driving something along 2. the flow or the velocity of the current of a river or ocean stream

verb 1. to become driven or carried along, as by a current of water, wind, or air 2. to move or float smoothly and effortlessly

3

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On the cover Hepworth s arden . In this volume, we are in conversation with printmaker Trevor Price, whose intricate drypoints and etchings are influenced by his Cornish roots.

To read more, turn to page 47. trevorpricestudios com circlecontemporary co uk porthminstergallery co uk

CEO

Editor

Ben Pratchett – 01326 574842

Hannah Tapping

Miguel Belert

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Content & Project Manager Dan Warden Managing Director

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Finance & HR Manager

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PROUD TO BE PART OF

rift is published by: Engine House Media LTD Holbrook, The Moors, Porthleven, Cornwall TR13 9JX www.enginehousemedia.co.uk www.levenmediagroup.co.uk

ISSN 2632-9891 © All rights reserved. Material may not be re-produced without the permission of Engine House Media Ltd. While rift will take every care to help readers with reports on properties and features, neither Engine House Media Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Engine House Media Ltd strongly advises viewing any property prior to purchasing or considerations over any financial decisions. Engine House Media reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. Engine House Media Ltd cannot take responsibility for loss or damage of supplied materials. The opinions expressed or advice given in the publication are the views of the individual authors and do not necessarily represent the views or policies of

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Engine House Media Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of this magazine.

Engine House Media Ltd is a multi-platform media business with a passion for everything Cornish. Visit www.enginehousemedia. co.uk to find out more. Our mission is to create READ-WATCHEXPERIENCE media opportunities marrying together consumers with the fabulous businesses across Cornwall. Our publishing and marketing teams are specialists in creating print and online communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and magazine experience we develop effective communications that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.

03/12/2021 10:40

T E A M

Foreword Time is of the essence; time waits for no man; time is precious; time flies by. Time is something by which our days are measured and lives are lived and it is precious and inexorable in equal measure. In this volume of DRIFT, we look at how moments in time are captured. Whether that be by the lens of photographer Ingrid Pop (23), whose portraits and landscapes offer a truthful instancy of subject and matter, or the painstaking printmaker’s marks made by Trevor Price (47) as he etches intricacies into polycarbonate sheet, resulting in monochromatic landscapes, almost photographic in quality. Time is marked in a different way by roasters Mandy and Peter Beall (35), whose collaboration with potter Tash Aldrich-Blake has created a community connection over coffee. For enjoying precious

time, we focus on the finer side of life with recipes from chef Adam Handling (59), whose restaurant the Ugly Butterfly has taken residence at Carbis Bay Hotel. Jon Keast of Scarlet Wines (66), encourages us to spend our time wisely when it comes to choosing wine, encouraging a more sustainable approach from all angles. Meanwhile, Rupert Cooper of Philleigh Way Cookery School (75), advocates spending more time considering food choices in order to eat better food, in every way possible, and Weavers Rachel and Eric (124) have opted to slow down time as they turn to tradtional, meditataive methods that while away the moment as they weave. From artists to artisans, makers to master craftsmen, time is well spent as they create masterpieces that adorn our homes and enrich our lives.

Our contributors

Hannah Tapping

Mercedes Smith

Dan Warden

Rosie Cattrell

Megan Searle

Lucy Studley

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Call Richard McEvoy on 07771 868880 or email richard.mcevoy@enginehousemedia.co.uk Visit drift-cornwall.co.uk to read more about our writers

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We invite you to continue your lifestyle voyage online.

Find inspiring stories and uncover more luxury content on nstagram driftcornwall Join our exclusive e- ournal community at drift-cornwall co uk to receive recipes, reviews and insider knowledge of some of Cornwall s most-loved luxury destinations drift-cornwall co uk T HE

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driftcornwall L IFEST YL E

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Estate Agents

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47

135 59

84

88

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C O N T E N T S

At a glance 23 35

88

STRIKE A POSE Behind the lens with Ingrid Pop

101

T H E ROA S T E R A N D THE POTTER

L U X U RY H O M E S At the pinnacle of the Cornish market

AN ECO-COLLECTION Functional beauty inspired by nature

A story of coffee and clay

47

THE MARK OF A MAN

59

TA K I N G F L I G H T

66

G LO BA L V I L L AG E

75

B E T T E R B Y N AT U R E

84

VOYA G E O F D I S C OV E RY

86

E X Q U I S I T E LY T I M E L E S S

113

LOOKING BACK The art and life of Jim Tinley

A conversation with Trevor Price

124

W OV E N I N W I L D N E S S An ancient craft in the hands of a weaver

Recipes from Adam Handling

135

A focus on local with Jon Keast

T H E AT R E O F WA R AND PEACE A world of imagination and reality

146

Putting food at the fore

155

The ultimate in versatility

162

Wristwatch finery from Michael Spiers

DELIVERING THE GOODS Perfectly plastic-free produce

RAINFOREST REDEMPTION Making a change for good

EVENTIDE The final word, from Sam Boex

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S U S TA I N A B L E A R C H I T EC T U R E SUSTAINABLE CONSTRUCTION

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25/10/2021 16:11

Strike

A POSE WORDS BY MEGAN SEARLE

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F O C U S

Fusing the carefully choreographed with the instancy of snapshots.

N

photography.” In latter years, her focus has changed to photojournalism. In 2015 she teamed up with a journalist, working together from the American West Coast for the cultural weekend magazine of the Financial Times in Norway.

ewquay-based Norwegian photographer, Ingrid Pop has been shooting acclaimed musicians for over a decade, travelling the world working for Norway’s most influential news and culture magazines. Her personal work has been exhibited in Oslo, Berlin and New York.

Whether she’s working as a photojournalist, on commercial assignments or art projects, Ingrid combines documentary and the poetic in her depiction.

“It was an erratic and restless time, living out of a suitcase for three years, but I fell in love with the desert, its rock formations and plant life – the places and people we got to see and meet along the way were pretty incredible.”

“I was studying art history at the University in Oslo and I missed the creative side of things. A friend lent me a camera, and I was fascinated by the way I could communicate with the outside world, as well as the encounter between the controlled and the unpredictable,” says Ingrid.

She started photographing her musician friends, doing their press shots and record sleeves: “I love the process of trying to translate a band’s sound into something visual and the challenge of capturing the dynamics between the individuals into a mission statement.”

“Due to the birth of my son followed by the pandemic, I haven’t been able to go back to work as I know it. Things have certainly changed, but I’m working on my first photo book at the moment, and together with my friend Lucy Ward we are planning some exciting things for our new venture Alma Artspace in 2022.

Ingrid’s work has been featured in The New Yorker, D2 Magazine of Financial Times Norway, Vice Magazine, Porter Magazine and her book with writer Alisa Larsen about the London food and drink scene has recently published in Scandinavia – hopefully to be released in the UK soon.

Moving to Berlin in her mid-twenties was a milestone, Ingrid expands: “I was surrounded by so much history, culture, artists, and a new sense of freedom. The low living costs gave me the opportunity to solely focus on

ingridpop.com

PREVIOUS Musician Jessica Pratt in LA

INSET Ingrid Pop

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A B OV E Personal work exhibited in New York

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A B OV E Film director, author and artist Miranda July in LA

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A B OV E A-Z West: an artwork and experiment by Andrea Zittel, located on over 80 acres in the California high desert next to Joshua Tree National Park.

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TOP Arcosanti: interior of the architectural experiment and urban laboratory located in the Arizona desert since 1970

03/12/2021 09:36

TOP Arcosanti: architect Paolo Soleri’s utopian metropolis in Arizona

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A B OV E Surfers, Imsouane, Morocco

03/12/2021 09:36

A B OV E Musician Aldous Harding in Larmer Tree Gardens, UK

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A B OV E Musician Devendra Banhart in LA

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03/12/2021 09:36

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A B OV E Phoebe Bridgers in LA

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TOP ‘Giant Rock’: a large freestanding boulder in the desert near The Integratron. It was considered a sacred place and a gathering point for UFO-believers in the 1950s.

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A B OV E The Integratron: a uniquely resonant tabernacle deep in the Mojave Desert, built by ufologist George Van Tassel in the late 1950s. Today the giant structure is a famous sound bath.

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The

Roaster and

THE POTTER WO R D S B Y M A N DY B E A L L | I M AG E S J O H N H E R S E Y

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D I A LO G U E

Where a coming together of coffee and clay creates the perfect antidote to a fast-paced consumable world.

T

he foot rarely settles as I make my way across Bodmin Moor; the familiar sounds as I crunch, splash, and squelch across the uneven ground comfort me.

In 2020 when most of the UK entered the first pandemic lockdown, we set up Lars & Margo. For many years we had hankered to be able to work together. Yes, we were a husband and wife team of almost three decades but taking that leap of faith to set up a business together and be in some control of our own destiny was something else!

I’ve recently returned to a revised ritual of morning walks with Alfred, our wirehaired dachshund, following a brief period of work unrelated to the family business. It’s wonderful to be able to return to such a beautiful landscape full of memories over time; the undulating, soft, hard and grey land around us is beautifully chromatic.

Prone to weather changes and temperament, the environment is almost human in nature. Cattle, sheep and ponies roam, I’m home.

Rewind six months, we had decided to celebrate my 50th birthday by going to Kenya, the place of my birth.

Whilst drinking coffee at the foot of Mt Kenya during our stay on a school friend’s farm, having recently heard that Peter had been made redundant from his full time job, we gazed across the Kenyan landscape and contemplated the question we greatly needed to address…what happens now? This is where I chuckled. Peter’s cooking abilities rarely surpass beans on toast, so when his response was “coffee roasting?” my surprised reaction was justified! Fearing he’d really tipped over the edge, and being the good supportive wife that I am, I encouraged him to continue.

Not far from my walk lives Tash AldrichBlake. Tash is an artist. A visit to her studio expresses this clearly. Paintings line her walls, handmade smocks fall from hangers in a corner, her potter’s wheel sits perfectly below a window with an inspirational view; ready and waiting.

INSET Mandy Beall with Alfred

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TOP Mandy and Peter on a morning walk

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A B OV E The ephemera of a potter’s studio

02/12/2021 12:20

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D I A LO G U E

bring an element of this into our practice was a much needed requirement. We weren’t just about roasting beans and distributing them.

We both wanted more than that. We wanted to be connected with others.

So two years on from that trip, I’m now sitting in our Roastery writing this article with Peter nearby, comfortably sharing this same space.

He’s warming up ‘Genevieve’, our 5kg coffee roaster, shipped over from Turkey when all seemed quiet but worrying in the world.

Sacks of speciality green beans, 22 in total, are propped up on wooden pallets. Empty sacks are folded, awaiting the opportunity to be hung on our walls as a token of reflection of how far we’ve come in such a short time.

Within 16 months we are prospering and strengthened, but more than that, we are contented.

Come and see us at the Roastery today and it’s not often you’ll simply arrive, purchase and leave without sharing stories; an element of Peter’s recently discovered Danish heritage and the love for Hygge may be the underlying influence here! We also live in this often overlooked former Cornish market town where farmers used to gather and exchange salutations, share experiences and offer support. We, as coffee roasters, envisaged meeting face to face with some of our coffee bean farmers but the pandemic forced us to consider other options. We decided to provide a platform for creatives whilst also inviting them to assist us along the way, so we put out a call on social media.

From the initial agreement of ‘ok let’s do this’ there was a need for me to find the same fulfilment from the business that was undoubtedly going to happen for Peter. He is very much the true coffee lover and from the start his role as roaster was clearly defined.

I’d come from a creative background and to

LEFT Tash Aldrich-Blake at her wheel

TOP Tash’s Talland Bay tumblers

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D I A LO G U E

She forages clays, an aspect she finds most interesting, but also uses commercial clays from St Agnes and Barnstaple on the north coast of Cornwall and Devon. The clay used for our collaboration was gathered from the hidden shores of Talland Bay on the county’s south east coast, where once mariners sailed cautiously and smugglers made use of secluded coves, concealing contraband. There is a particular area of the bay, only accessible during the spring tides or during a full moon when the outgoing tide is at its lowest…a specific material can be found there, her eye now disciplined to place, purple in hue.

Nobody came forward. By pure chance I’d discovered a potter based in London, inspired by her visits to the Cornish coast, which excited us both. We contacted her and she agreed to make us a small batch of coffee cups (a strong ethos throughout our pledge with limited numbers for the benefits for sustainability). Some months later, following a successful sell out, we discovered another potter. The same happened again. So now we have arrived with our third maker for Lars & Margo.

Based up the road from us here in Liskeard, Tash uses a method of pounding, separating and rehydrating the clay from within the bounds of her most idyllic, self-built, wooden studio set beneath the shadows of the 19th century crumbling tin engine houses, in a secluded and remote spot on Bodmin Moor. Her process is lengthy, the praxis of collecting being essential to Tash’s practice.

The source of the River Seaton can be found on Caradon Hill. The mouth of this river is some 6miles along the coast from Talland Bay. The Looe River only some four miles from Talland sources near Redgate. Both of these rivers have trickled through the granite arena of south east Cornwall’s moorland,

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D I A LO G U E

come and sadly go. ur Roastery is currently based on a site intended for helping business start ups. This has been a great opportunity for us. There is a sense of community found here, each one supporting the other.

eroding igneous granite rock over millions of years, finally depositing feldspar, uart , amphiboles, hematite and other minerals within this area along the shores. This is where Tash forages this historic, now present, matter with the additions of weathering and salt spray.

n weekends we leave our home town, taking our coffee beans and pottery with us, heading to the likes of Whitecross at Lanteglos near Fowey, Tavistock and lymouth, to trade at the delicious food markets to be had, meeting with regular customers and new. ur coffee packaged in its distinctive black paper packaging is now widespread throughout Cornwall and evon, from farm shops and other retailers to hospitality settings. ou may have tasted our coffee in one of Cornwall’s holiday lets.

Tash painstakingly designed a run of cups with handles for us, but nature being nature and the clay having its own dominance over maker, it wasn’t meant to be. The final firing had adverse returns on the gla e. The tumblers however were not spoilt and we now have these as a small collection available to buy from our Lars & Margo Roastery.

To close ones eyes whilst cupping hands around a Talland Bay tumbler, one should e pect a weight and a coarseness bearing a similarity to climbs on rocky tors as the hand momentarily rests on granite for stability or when clambering over barnacled shore rocks to the pools with hidden ‘critters’.

The history of this area is vast and is worth e ploring but if nothing else, Bodmin Moor, wonderfully visible from the Cheesewring, is ever changing, wild yet welcoming. s the seasons alter so does the flora and fauna, but the granite uarries with their deep indigo pools remain. The trickling of the waters as they emerge into deeper and faster channels will hopefully continue to run for many years and provide us with inspiration and material. Inside, the drum rotates, hums, clunks, whooshes on repeat until the beans ‘first crack’. The Coffee Roastery.

The south east area of Cornwall is still, in our opinion, somewhat overlooked. s locals we don’t necessarily have an issue with this where other areas are becoming heavily overwhelmed with tourism this doesn’t appear to be the case here so much. However, this can also be detrimental to the area, especially as we try to grow our businesses. espite the recent upheaval caused by the pandemic, we’ve witnessed small businesses

larsandmargo.co.uk natashaaldrichblake

INSET The roasters and the potter

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mark

The of A MAN WO R D S B Y H A N N A H TA P P I N G

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D I A LO G U E

Highly representational images that reveal intricate mark making and abstraction in close up; in conversation with printmaker Trevor Price.

I

Cambridge , Guangdong Museum of rt China , inchuan Contemporary rt Museum China , ale niversity S , The ce of ublic Works ublin , and The Bank of ngland.

first meet Trevor, not in his studio, nor in a gallery, but on the warm and slightly damp balcony of our local swimming pool on club night. While the smell of chlorine pervades our nostrils and we chat idly about our young swimmers, I notice Trevor’s ink stained hands my mother was a printer and so I’m no stranger to the trademark engraining of ink on skin and en uire as to his trade? “I’m a printmaker,” he replies unsurprisingly, “more specifically relief prints and drypoint.”

Eager to learn more of the man and these marks I ask for a little background on his heritage, study and early career.

I am a Cornishman by birth, although I spent over twenty years as a Londoner during the early stages of my career as an artist. My studio locations included the historical Clink Street, in the shadow of the power station that later became Tate Modern. When the area became gentrified and too e pensive I moved the studio to Bermondsey in the heart of Millwall Football supporters territory. With my wife and teenage daughter I now reside in St Ives, and as a mashup of cultures and locations I see myself as the Cornish Londoner.

My interest is pi ued and on returning home, a uick Google reveals prints so intricate that you would be forgiven for mistaking them for photographs. Closer inspection uncovers marks in such detail that they create patterns in their own right. His work is held in various collections including the ictoria and lbert Museum London , the shmolean Museum ford , the Fit william Museum

PREVIOUS Trevor rice in his studio

INSET Storm Waves I

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TOP Hepworth’s Garden

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A B OV E Hepworth’s Garden etail

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LEFT Storm waves I

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TOP Woodland I

RIGHT Reflections II.

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D I A LO G U E

What are the key subjects that inspire your work?

I’m now the owner of four wetsuits summer, winter, race suit, shortie so it was only a matter of time before I referenced the sea in my art and the new direction in plate making coincided with the new subject matter. ‘The Celtic sea’, ‘Breaking waves’, ‘Chop waves’, and ‘Backwash’ all became new images, and then lockdown ambles manifested into ‘Woodland walk’, ‘Beechwood’ and ‘ moment of reflection’. The sea and trees have filled my working week for several years now!

Was there a particular moment, or encounter, with a person, artwork or exhibition that inspired you to become an artist? s a young boy I don’t recall a single trip to an art gallery. So, my first real art encounter was a school si th form trip to see an lfred Wallis e hibition at the enwith Gallery in St Ives. t the time, I was somewhat confused by his naive art and as a teenage boy I thought it more childish than childlike.

However, I have grown to love the child like ualities, and the era of Wallis, icholson and Hepworth in St Ives is something I now constantly refer back to and reference through my art.

How does the process of creating a work begin and end for you?

I fear that when I mention the techni ues of my printmaking eyes gla e over, but I am passionate about them. So, without apology here are the technical bits. I primarily make relief prints. Traditionally these are wood or linocuts, but my surface of choice is polycarbonate sheet.

More recently I took a trip to China as the ice resident of the Royal Society of ainter rintmakers to represent the society in an e hibition of British and Chinese printmakers. China has such a tradition with printmaking, especially woodcuts and their contemporary printmakers reflect this through the most ama ing prints. I returned in awe and totally inspired and decided to be more ambitious to spend more time in the making of each print focusing on the carving of the plates rather than worrying about the absurd amount of time needed to complete a single image. So with ‘less is more’ as my motto, I started a new. Four years later I currently have large prints, each taking well over two of months solid work to complete.

I carve and scrape the plate with a drypoint needle and a dremel a dentists’ drill like tool to create the marks. Fine layers of ink are then rolled over the surface using a large heavy roller a physically demanding but e acting process. Too much ink and the details are filled in, but too little and the image appears washed out. There is a methodical counting of rollups, in the same way a distance swimmer counts

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A B OV E Hepworth’s Garden

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D I A LO G U E

lengths, to ensure the perfect layer of ink.

The plate is then sent through the etching press with damped paper covering the plate.

The moment of reveal for the first proof is always an e citing yet an ious moment where I hope the previous two month’s work were not a waste of time! There will then be more carving and many more proofs before completion.

Where do you think your work sits within the progression of contemporary British printmaking? sing traditional techni ues, but sourcing modern materials and tools has allowed me to create prints previously not possible.

Beyond that the uestion above is for others to judge.

Could you describe your studio and tell us what that space means to you as an artist.

My studio has a beautiful but distracting view across St Ives bay. ut of the window in the foreground are an assortment of my daughter’s surf boards but beyond is the bay and Godrevy Lighthouse. Below me is the house Ben icholson lived in, so I love the thought that we share a view hopefully my surroundings and his influence rub off slightly.

The making of the plates feels very abstract as I am trusting on instinct as much as my eye, as it’s di cult to see what’s going on. My hope is that these abstract ualities come through in the final image when viewed close, and for the viewer to get lost in the mark making. From a distance they feel far from abstract and become almost photographic. lthough there is no photographic process involved in the making of the plates.

A B OV E Moment of Reflection II

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TOP Chop Waves

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A B OV E The Celtic Sea

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D I A LO G U E

Within the studio is an antique plan chest and a Victorian etching press, frames carefully stacked beside handmade papers and the printing plates neatly and safely packed away. Inks and rollers are in line and ready for the next proof. As I begin work each morning there is a military tidiness to the space. By mid afternoon if the day has been productive it’s a mess of paints, inks and associated chaos.

They will then be available in Cornwall, along with my other prints, at the Porthminster Gallery in St Ives and Circle Contemporary near Padstow.

Finally, what would you like people to take away from an encounter with your work?

I strive to be a master of my technique. Art is so subjective so I certainly don’t expect everyone to like my art (you need a thick skin sometimes as an artist!), but I do hope there is an appreciation of the technique and an understanding of the patience required to make such work. If 10,000 hours is the benchmark, then I’ve done that several times over in my 35+ years as a printmaker.

Can you tell me about any current or future collections that you are working on its focus?

I’ve almost finished two large relief prints of Hepworth’s Garden. It’s a magical place and with it being just a minute’s walk from my studio, I thought I should pay homage to the sculptor and her garden. These pieces started life this spring, and are going to be launched through Eames Fine Art in London, twelve months on from their conception, in the spring of 2022.

trevorpricestudios.com circlecontemporary.co.uk porthminstergallery.co.uk

A B OV E Backwash

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discover our world

michaelspiers.co.uk

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C U I SI N E

Taking

FLIGHT

dam andling s restaurant gly utter y has taken residence at Carbis Bay Estate, showcasing British food, inspired by Cornwall.

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C U I SI N E

Starter: Scallops, Apples & Hazelnuts SERVES 2 INGREDIENTS: For the scallops:

For the apple pickle:

For the vanilla apple:

6 scallops, shucked from their shells

½ an apple

½ Granny Smith apple, diced

Oil for frying

2 tbsp white wine vinegar

Pinch of salt Knob of butter 1 tbsp lemon juice

80ml water

For the burnt apple puree: 1 Granny Smith apple

Vanilla pod 1 tbsp lemon juice

1 tbsp sugar

1 tbsp sugar

Pinch of salt

25ml water

This is a great starter because so much of the preparation can be done beforehand. When you’re ready to eat, you can cook the scallops and make the puree in about 10 minutes! The scallops should only be cooked on one side – make sure they are golden brown before coming off the heat. Adding burnt apple puree and acidic fresh apple brings the scallops alive.

to the boil then remove from the heat. Infuse for 24 hours.

Method

Pass through a sieve.

10 minutes before you’re ready to eat, make the burnt apple puree by quartering the apple and placing on a small baking tray lined with tin foil. Bake in the oven at 180 degrees for 30-35 minutes or until darkly coloured. Allow to cool then blitz in a food processor until smooth.

At the last possible minute, prepare the scallops for cooking. Place a frying pan on a medium heat with a touch of oil. Season the presentation side of the scallops with a pinch of salt. Place the scallops in the frying pan, presentation side up, and cook until golden brown. Add the butter and baste. Finish with a squeeze of lemon juice. Remove from the pan and serve immediately.

The day before cooking, make the apple pickle and vanilla apple. For the apple pickle, slice the apples thinly (if possible, use a mandoline).

Place all the ingredients except the apple into a saucepan and bring to a simmer. Remove from the heat and add the apple. Leave for 5 minutes then add the mint. Leave to cool then place in the fridge to marinate for 24 hours. Make the vanilla apple by adding all of the ingredients except the apple into a small saucepan. Bring

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C U I SI N E

Main: Beef Wellington SERVES 6 INGREDIENTS: For the Chicken Mousse:

For the Crepe Mix:

250g chicken breast, diced

g plain flour

For the Beef: beef fillet

1 egg white (keep the egg yolk for the pastry)

2g table salt

2tbsp Dijon mustard

200g haggis

2 eggs 50ml semi-skimmed milk

sheets of puff pastry sheets (1 sheet for latticing)

80g double cream 3g table salt

tbsp sunflower oil Prep time: 10 minutes

1 egg yolk Prep time: 25 minutes

1g black pepper Prep time: 20 minutes

Method top of the pastry and roll again to form a neat cylinder. When the wellington is set, add your lattice pastry on top.

For the chicken mousse, place the chicken breast into a cold blender, add the remaining ingredients and blend until smooth. Mix with haggis and refrigerate, until needed.

Pre-heat your oven to 200°C and place a large tray into the oven until it gets really hot. Remove the tray from the oven, place the Wellington on the tray and put it back into the oven (be as quick as possible with this step). Cook for approximately 15 minutes, or until you see the pastry turning golden brown. Reduce the heat to 180°C and cook for a further 15 minutes.

For the crepe mi , put the plain flour and salt into a large mixing bowl. Make a well in the centre and crack 2 eggs into the middle. Pour in the milk and oil. Start whisking from the centre, gradually drawing the flour into the eggs, milk and oil. Ladle into a pan and spread the liquid, so that it creates a thin layer. Cook on each side for 1 minute, at 170°C.

Remove from the oven and probe the centre of the Wellington. When the core temperature is 35°C, remove the Wellington from the oven and leave to rest on the side for 5 minutes. Carefully remove the two ends of the pastry to release the steam. This needs to rest for 20 minutes.

The pastry will act as a very hot blanket and continue to cook the Wellington.

For the beef, seal off the beef in a frying pan (reserve the beef fat). When golden, take the pan off the heat and rub the mustard into the meat. Leave it to cool down. Lay the crepe out on a surface. Spread the chicken and haggis mousse on top of the crepe. Place the beef on top and roll it into a cylinder. Lay out the pastry and egg wash. Place the rolled beef cylinder on

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C U I SI N E

Dessert: Chocolate Orange Torte SERVES 10 INGREDIENTS: For the Base:

For the Torte:

200g butter

375g 72%+ cocoa chocolate

90g icing sugar

2 gelatine leaves

50g cocoa powder

150g glucose

g flour

900g double cream 2g salt 50g water 25ml orange oil

Method for base

Method for torte

Beat butter and icing sugar together until fluffy, ideally in a mi er, then add the flour and cocoa powder gently and mix thoroughly

Soak the gelatine its softened.

in

iced

water

until

In a medium saucepan bring the water and glucose to the boil

Roll the mix between two sheets of greaseproof paper to about 3cm thickness and leave in the fridge to set for around half an hour.

Take the mix out of the fridge and cut into 10 rectangles the same size as your moulds and cook on a baking sheet at 180°C for 8 minutes.

In a separate pan, bring the cream to the boil and then combine with the other liquid, then pour hot cream mix over the chocolate to melt, and mix until completely combined. Add salt and orange oil

Allow to cool thoroughly before placing into the bottom of 10 rectangular moulds lined with greaseproof paper.

Mix thoroughly and pour into the lined moulds, and leave to cool completely before serving.

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Global

VILLAGE WORDS BY LUCY STUDLEY

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SUSTA I N

Despite having the world of wine at his ngertips on east says his focus will always be local.

W

good things in the world of wine. Visit the miniature emporium and you’ll discover shelves packed with interesting finds at all price points, each hand selected by on.

Best of all, Scarlet Wines is known for its enthusiastic, down to earth approach no family cellar or encyclopaedic knowledge of French appellations is required to gain entry. “I just want you to find something you’ll enjoy drinking and sharing around the table with your friends,” says Jon. “It really is that simple!”

ine merchants are in the enviable position of being able to taste their way around the world from behind their desks. With finely tuned palates they can skip lightly from region to region, appreciating idiosyncratic grape varieties while honing an appreciation for diverse winemaking traditions.

In fact, with Covid and climate change awareness impacting future travel, inhaling the scent of a heady, rich and spicy glianico from sun drenched Southern Italy is something we all may have to get used to as a substitute for care free globe trotting. © Ilya Fisher

These days even the smallest independent merchants are able to sell their wares online, giving wine lovers across the nation access to their cherished finds and specialist knowledge.

However, for Scarlet Wines, local customers in and around St Ives remain the clear focus. “We’ve recently put our full catalogue online and can deliver anywhere in the for a flat rate of ,” e plains on, who decided to follow his passion for wine and start the business over a decade ago.

Jon Keast of Scarlet Wines is well prepared for a future where our carbon footprints are smaller but our thirst for new experiences (and great wines!) remains undiminished. From the small but perfectly formed Scarlet Wines store at The Old Forge, Lelant, he and assistant vintner Daniel Amos have created a microcosm of

INSET Jon Keast

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© Ilya Fisher © Ilya Fisher

© Ilya Fisher

A B OV E Delivering in the heart of St Ives

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SUSTA I N

its environmental impact. “ bike deliveries are free because I want to encourage people to shop locally so that we can take more delivery vans off the road and improve the environment for everyone,” he explains. “ ur electric van which, like the e bike, is charged using renewable energy, goes further and covers the whole of West Cornwall, for which people pay a nominal delivery charge.

Beyond that, customers need to pay a little e tra for a carbon neutral delivery from our national couriers.”

In a characteristic move, Scarlet Wines closed on Black Friday this year, instead encouraging everyone to buy nothing and spend the day enjoying nature instead. In fact, this low key but much loved merchant has become one of the greenest in the UK in recent years. Jon’s carefully curated portfolio is increasingly dominated by organic wines – many of which are also vegan – and he has drastically reduced his selection of non European wines in order to save carbon from their long haul journeys.

“We’ve been asked for this service for many years by people who first discover us while on holiday in St Ives. People come back year after year and we stock up their holiday lets with wine before they arrive, so the natural ne t step was to offer national delivery.

However, we’re still a local wine merchant and we’re not ashamed to say that our local service is much better!”

Excelling in local service means that Scarlet Wines is able to put sustainability high up the agenda. In the early days of Covid Jon purchased an electric bike (a Riesse and Muller Load 5 e cargo bike which can carry about bottles at a time for deliveries in town. He now zips around to homes and holiday lets, weaving in and out of tra c and negotiating narrow lanes in picturesque St Ives (delivery is free to all TR26 postcodes , transporting carbon neutral wine deliveries to appreciative customers.

Jon has structured his service very deliberately, nudging people to think sustainably and consider each purchase and

TOP Sustainability and a personal service is at the heart of Scarlet Wines

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A B OV E The wines are selected to be enjoyed and shared

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© Ilya Fisher

TOP An epicurean emporium

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SU STA I N

As Jon explains, there is a clear logic and pragmatism behind this approach. “A cool climate Riesling from Tasmania has to have a discernible character and quality which can’t be found in an Austrian or German counterpart to make it onto the list. We can no longer justify tick bo wine lists which must have a New Zealand Sauvignon, an Australian Cabernet etc, when there are plenty of excellent European counterparts which do the job just as well.

are various vegan fining agents in use, or the wine can simply be left to self clarify over a longer period of time. “It’s really important to us that we offer a good selection of wines for anyone who is on a vegan diet,” said Jon. “Wines can be filtered perfectly ade uately without using animal products and I expect we’ll see the majority of wines moving in this direct soon, but for now we’re helping our customers out by highlighting which of our wines are vegan.”

To find these uropean wines of indigenous grape varieties and regional character, Jon regularly attends specialist tastings in London and travels to the continent – by train these days – to seek out and visit small producers.

Some of these operators are maverick upstarts who are challenging the status quo, others are run by families who have been tending the same rows of vines for generations. The nature of these boutique operations means they are likely to employ organic, low intervention principles in their vineyards – something Jon firmly believes benefits both the wine and the environment. “Wines which are produced in organic vineyards, where the soil is free from chemicals and the natural biodiversity of the land is encouraged, have greater nuance of flavour and te ture,” on e plains. “ s well as healthier soil, this approach helps preserve habitats for local flora and fauna, for e ample encouraging bees and butterflies.”

Naturally, Jon will be drinking vegan wines and enjoying a plant based feast on Christmas Day. “We recently supplied wine for a vegan Sunday roast in collaboration with our friends at Yallah Café in St Ives, so these wines come as tried and tested recommendations for a vegan feast,” he says. “I’ll be drinking Circle of Life – a blend of Sauvignon, Chenin and Semillon from Stellenbosch, and Chateau Beynat – a delicious organic Bordeaux.”

Jon also has thoughts on what to pair with the traditional turkey for Christmas lunch.

“A lot of our friends have reduced their meat consumption but are treating themselves to a locally reared turkey on Christmas ay,” he says. “To them I’ve been recommending Kovacs Battonage Chardonnay – a superb, full bodied oaked style from Hungary, and Gome Cru ado Rioja Reserva from , which is a classic and soft Rioja which is drinking perfectly right now. They’ll work beautifully with the flavours of a traditional Christmas lunch.” Whatever the next year brings, it’s worth remembering that your local wine merchant can help you travel the world from the comfort of your own home.

All you need is a large table, and several good friends with a thirst for new experiences.

A vegan himself, Jon has dedicated a section on his new website exclusively to vegan and organic wines, and it’s absolutely packed with great finds. Many wines especially from large commercial producers are filtered of e cess proteins or tannins using fining agents like milk protein and egg whites, making them not suitable for vegans. All wines have the potential to be vegan – there

scarlet-wines.co.u

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Better by

NATURE WO R D S B Y H A N N A H TA P P I N G

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C U I SI N E

A professional rugby-player-turned-chef puts food at the fore in a bid to educate and impact.

E

I knew that I wanted to work with food after playing sport,” Rupert says “I’d been getting experience working in professional kitchens and ran a popular supper club in Nottingham where I’d been playing rugby, before moving to Cornwall. After moving down here there was no question of us leaving and the food scene is so rich. I was looking to take that onward step and inevitable career change, but I wasn’t expecting an opportunity that combines so many of my passions to come up. I get to cook, I get to share skills and knowledge with people, and I get to do it in a beautiful part of the world where we have some of the best ingredients on our doorstep. It’s so much more than simply feeding people, and I love it.”

very single one of us eats; but could we be eating better and what does better actually mean? Better tasting food? Meals that are better for our health? Better value for money? Food that is better for the environment? Rupert Cooper is a chef trying to help people to eat better in all of those ways.

Rupert owns and runs Philleigh Way, one of Cornwall’s most popular and well-established cookery schools.

A former professional rugby player with a love of food that went above and beyond the fuel/volume attitude of many of his contemporaries, Rupert made the transition to full time chef and teacher in 2018 after moving to Cornwall, his wife’s home county, to play for The Cornish Pirates.

Philleigh Way’s original owners were on the verge of closing the cookery school’s doors for good, but it was just the opportunity that Rupert was looking for.

Taking on a Cornish cookery school appears to have been a home-run hit for Rupert. Good chefs create beautiful plates of food and their appeal is largely in delivering something that most of us cannot produce at home.

INSET Rupert Cooper

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TOP Making scones

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A B OV E Philleigh Way’s uinque cookery courses bring out the chef in everyone

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C U I SI N E

and considering our diets, but the reality can be complicated and nuanced,” he explains.

“It doesn’t need to be a binary choice and shouldn’t be polarising. I’m really keen to try and bring people along for the ride and sow the seeds for small changes that can quickly add up. I have to be balanced because we offer courses in vegan cookery as well as butchery, sometimes with specialist guest tutors, and so the cookery school’s position needs to be spot on. But it really doesn’t need to be di cult or awkward. It’s as simple as encouraging whole-animal eating and selectively sourcing meat from the right producers, or promoting plant based options that utilise the locallygrown vegetables, fruits and salads that are abundant in-season, instead of using fake meat with a long list of imported ingredients.”

Sharing a recipe and method is only part of the picture, though. What Rupert has the opportunity to do, and that he does so well, is to share not only the knowledge and tips that separate chefs from home cooks, but his bigger picture food ethos.

His aim is to make it easier for people to eat better food, in every way possible: “There are so many small, easy things that people could be doing,” he says. “What we eat every day is so important on so many levels. Health is in the headlines all the time, as is food poverty and the environmental impact of our food and diets. Sharing recipes that minimize food waste, and championing producers and ingredients that we need to be eating more of, has a real ripple effect. This subtext becomes apparent when you look a little deeper at what Rupert is doing at Philleigh Way. Over the last year he has worked to promote oysters, both as a low impact and sustainable seafood but also in an effort to help develop the domestic market for an industry so negatively impacted by Brexit (the cookery school also works with and is certified by the Cornwall Good Seafood Guide). Last summer he teamed up with Homage To The Bovine – local farmers with a focus on soil health (soil is a really important carbon sink) who raise grass-fed retired dairy cow beef – for a feast night celebrating their unique and forward thinking produce.

Over the last three years Rupert has worked tirelessly to grow the business and expand its offering. Taking on an established family business and running it single-handedly hasn’t been without its challenges, but one gets the impression that Rupert is used to this from his previous career, and his mindset hasn’t changed. Alongside traditionally popular cookery courses such as Cornish pasties, baking bread and fish and seafood, he offers courses in a huge range of cuisines from half-day courses in knife skills or understanding spices, through regional cuisine and on into fermenting, foraging, or full-day immersive Argentian asado experiences around the fire.

The cookery school’s blog and newsletter frequently features articles and recipes focused on topics such as food waste or on readily available ingredients that we should be eating more of, such as venison. “We all know that we need to be eating more plants,

Rupert has developed strong relationships with many of the region’s top chefs and specialists, many of whom appear regularly on the Philleigh Way line-up as guest tutors:

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LEFT Asado feast

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C U I SI N E

also bought an old horsebox and my brother in law spent the summer of 2020 fitting that out into a food trailer for me. When the country locked down for the second and third times I had a plan in place and was ready to react.

I was just doing whatever I could to ensure that the business would survive, but the online cookery courses and the food trailer are still active parts of our offering and are huge assets.”

“There are so many amazing chefs and food professionals here in the south west.

Some of them are well known, some are rising stars, and some are unsung heroes.

All of them have got some amazing skills and insights to share and it’s been so rewarding to have them lead specialist courses at the cookery school. I think their courses are worth the ticket price just to have them cook for you in such an intimate setting, let alone to learn from them.”

Speaking with Rupert it is clear that he’s a natural communicator; he’s articulate, funny, and approachable despite his formidable height and build - attributes that have led to him hosting and cooking at many of the region’s leading food festivals over the last few years. He’s also an incredibly accomplished and knowledgeable chef, who’s found a new vocation where those skills intersect.

The career change he took is quite extreme, but both are linked by one common thread: impact.

The impact that he’s able to make now through Philleigh Way cookery school is subtle, but the positive effects of eating better are important to him.

“The core of Philleigh Way has and always will be the courses at the cookery school,” Rupert concludes. “I love the energy of a room full of people and the smell when everyone is cooking. And the more successful I can make the cookery school, the more I’m able to share beyond these four walls, which is really exciting.”

Alongside the cookery courses, Rupert took the obvious step of using his experience running supper clubs to expand Philleigh Way’s offering further to include pop-up feast nights, event catering and private dinners.

However, being both an ‘experience’ business and in the hospitality sector, the effects of the pandemic posed a very real risk to everything that he’d achieved. “The industry went into panic overnight, and there were some real horror stories. Because I had uite a broad and uni ue offering as a cookery school my reaction could be broad too. I started putting together cook-at-home recipe kits and ready meals, and drove all over Cornwall delivering them during the first lockdown. It was hard work, but our local community were so supportive. I wanted to be able to do something for our customers and community outside of Cornwall too though, so I published some menu plans and recipes on our blog and email newsletter, and trialed doing weekly cook-alongs on social media that then developed into online cookery courses. I

philleighway.co.uk

INSET Making Laksa

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oasting seven seats, effecient powertrains, enhanced connectivity and more comfort than ever, the new iscovery takes S versitility to the ne t level. The e terior has had a design makeover, with distinctive L headlights and tail lights complemented by fresh bumpers front and rear. n advanced ivi ro infotainment system offers touchsceen connectivity, housed in a completely redesigned centre console, providing a fast and intuitive interface and customisable screen to reduce drive destraction. nder the bonnet, the latest straight si Ingenium petrol and diesel engines, with Mild Hybrid lectric ehicle technology, supply superior performance and e ciency. This new iscovery is also among the world’s first full si ed, seven seat premium S to meet the demanding Real riving missions Step R standards, which govern nitrogen o ide emissions.

Its superb suspension geometry combines with rewarding dynamics and e cellent body control to deliver a highly capable and incredibly refined and engaging drive.

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P RO P E RT Y

WATERSIDE sanctuary

A stunning five-bedroom home by the river s edge, complete with an impressive view of Restronguet Creek

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et in a wonderful vantage point to take in the stunning views across Restronguet Creek, Riverbank is a beautiful Cornish property boasting spacious accommodation and sharp attention to detail, with the most enchanting waterside and country surroundings.

The panoramic view from the living room is one to take the breath away, inviting evenings of light-hearted entertainment as the broad sitting area leads you through to the kitchen and dining area, both of which open out onto the magnificent sun terrace and down to the garden, with a wonderful conservatory and a well-placed hot tub in which to watch the sun set.

With four spacious bedrooms on the ground floor, three of which are en suite, and an impressive master bedroom suite with the most spectacular outlook over the whole creek from the broad balcony on the first floor, there’s plenty of space for all the family and more.

RIVERBANK Guide Price: Offers over £1.95M ROHRS & ROWE 01872 306360 info@rohrsandrowe.co.uk

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P RO P E RT Y

ROOTED in the river

A thriving business opportunity in a beautifully renovated home on the banks of Penpol Creek.

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et on the edge of Penpol Creek, enjoying spectacular south westerly views over the upper reaches of Restronguet Creek, you will find the Penpol Boatyard and Swallows Rest. The property is within the parish of Feock, a highly sought-after and pictures ue village on the upper reaches of the River Fal, which has tidal access to the magnificent sailing waters of the Carrick Roads, whilst also being just a short drive from Truro.

Swallows Rest is a characterful conversion of a former boat shed that has been renovated by the current owners. The light and spacious accommodation extends to about 2,640 s ft over two floors, comprising an open plan kitchen and living space, four bedrooms, two bathrooms a home o ce and utility area, and an integral garage. The boat yard comprises a lower shed for storage and projects with adjoining workshop. Immediately accessible from the lower shed is a wooden dock, slipway and crane bay, with pontoon berths available within Penpol Creek and full tide moorings further down.

PENPOL BOATYARD & SWALLOWS REST Guide price: Offers over £2M SAVILLS CORNWALL 73 Lemon Street, Truro TR1 2PN 01872 243200 cornwall@savills.com

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P RO P E RT Y

A PROMISE of tranquillity

A truly unique and exceptionally high-quality development set within private gated grounds.

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pacious, thoughtfully designed and wonderfully luxurious, these contemporary detached houses, estimated for completion from mid-February 2022, will offer stunning accommodation over three floors. With only three out of six of the properties for sale, Netherfield represents a rare chance to own a piece of modern Cornish architecture right in the heart of the county.

With four beautifully light bedrooms, and averaging 2,600 s uare feet in total, the properties make for the perfect family home, with plenty of space for guests, alongside a high specification kitchen and spacious living area. The terracing and landscaped gardens, which can be accessed from all floors, invite alfresco evenings under the stars or warm gatherings in the summer, and the balconies that adorn each house make for the perfect viewing platform of the far-reaching country views. ocated on the edge of Probus, with the Roseland Peninsula within a short drive, Netherfield will offer the serenity of rural tran uillity, with the coast and the cathedral city of Truro just a short distance away.

NETHERFIELD Guide Price: Offers over £1M SHORE PARTNERSHIP 01872 484484 contact@shorepartnerhsip.com

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I N SPI R AT I O N

A fresh

START

Recently completed, we take a look at a bespoke new build nestled on the outskirts of Newquay that promises a bright and refreshed beginning.

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pristine finish throughout the property. The family kitchen and dining area is flawlessly functional, with plenty of space for a table fit for a family to share a homemade meal, and the lounge invites cosy evenings on the sofa.

Both rooms lead out into the enclosed garden through sliding glass doors, a wonderful space for alfresco entertainment all year round. The feature glass and oak staircase, with the charming addition of a Tom Ra eld pendant, leads you up to four spacious family bedrooms, with a luxurious en-suite attached to the principle bedroom. The marble tiled family bathroom makes for a tranquil space for those much-needed moments of relaxation.

hen it comes to a forever home, we all have a picture-perfect imagining of where we might like to carve out a space for ourselves and impress our unique stamp upon a place we can call our own, but imagine being the very first to live in a house, freshly built from the ground up. The first to hang your coat up at the door, the first to wander through each room and contemplate the perfect interior, the first to turn the key and glance back at a new start.

Tucked away in the idyllic hamlet of Lane on the outskirts of Newquay, an iconic Cornish retreat, Trevow Place presents a stirring new opportunity for a beautifully serene sanctuary, and one property in particular deserves our special attention. Five Trevow Place stands alone as the only detached four-bedroom house in the development, and radiates an aura of individuality and character.

Built on a sustainable development ethos, and with beautiful external oak cladding and a natural slate roof, the overall aesthetic of the property offers an inviting blank canvas with a touch of character, the only thing left to do is make it your own.

This property is freehold, and is currently on the market for £665,000 with David Ball.

Designed and built by a trusted Cornish family developer, this home boasts extreme attention to detail inside and out, with a wonderful level of natural light that highlights the

davidball-luxury.co.uk

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I N SPI R AT I O N

Hues of

MANHATTAN Carefully transported into the present day from the 1930s, we take a look at an utterly unique space with an intriguing past that wasn’t on the market for long.

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apartment with an eat-in kitchen and additional sitting room.

ften when we think of luxury homes in Cornwall, our imagination conjures images of uaint countryside cottages amongst fields of green, or lavish manor houses hidden within walled gardens.

However, we recently stumbled across an incredibly rare and unusual property in the heart of Penzance that transports anyone who walks through the door into a Manhattan penthouse apartment with the added bonus of a glistening harbour view.

Situated adjacent to Chapel Street with its ex uisite restaurants and vintage style shops, this wonderfully old-fashioned building, originally constructed over 90 years ago, is set in the heart of Penzance, and is also home to the well-established and internationally acclaimed art gallery, The Exchange. With such a hub of creativity below, and an incredible amount of natural light afforded by the large windows all around the apartment, the property would make for an ideal workspace for an artist of any sort, and lends itself well to the livework’ lifestyle.

Originally a 1930s telephone exchange, the current vendors saw the potential to cleverly convert the space into a New ork loft style apartment, making the most of the high ceilings and generous floor space of over 3000 s uare feet. Now a luxuriously cavernous apartment, the potential that this property harbours is undeniable.

While affording flexible room configuration for a multitude of possibilities, the accommodation is currently split into two distinct areas comprising of a threebedroom, two-bathroom space with two reception rooms, a cinema room and the option of a fourth bedroom, and a separate one-bedroom, one-bathroom annexe

Is it any wonder that this shining opportunity was snapped up by the new owners With scope for an indescribably spacious home, or the opportunity for smaller letting prospects, even a conversion into a commercial space with the right planning consent, the possibilities are endless at Number 2, The Exchange Building. nestseekers.com

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I N SPI R AT I O N

Charm and

TRADITION Tucked away on the outskirts of Lanner, Brewer Farm is uintessentially Cornish, uietly rural and over owing with an enchanting character that is hard to come by

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that now occupies the second exposed granite fireplace, with a charming view of the grounds outside through the three sash windows. The room has been transformed into a strikingly contemporary space, and is surprisingly large for a cottage of this age.

t the end of an unmade country lane that weaves through open farmland and endless green fields, you may have the good fortune to comes across a charming sight in the most romantic of settings. Surrounded by an ancient aura of old boundary hedges and aged trees, Brewer Farm lies at the heart of its own luscious grounds and prosperous farmland on the edge of the small rural hamlet of Higher Tretharrup.

Stepping up into the kitchen, images of freshly made bread on Sunday mornings and coffee brewing on the cooker come to mind, with a calming view of the greenery that surrounds the house through more sash windows. The exposed beams and ceramic sink continue the traditional country aesthetic that gives the property such warmth and character, and upstairs is no exception. The wooden floors that pave the way up the stairs stretch throughout the first floor into the bathroom and the three double bedrooms, each adorned with sash windows and unending country views. A two-storey stone outhouse accompanies the cottage, complete with a studio on the first floor with storage below.

The cottage itself is truly fascinating, and in many ways has been untouched for a number of years, retaining an enchanting old-world charm of a bygone era, and presenting an irresistible blank canvas on which any new owner can impress their stamp. Surrounded by flourishing gardens, the cottage takes us back to a time of simple country living, framed with rustic stone walls, sash windows and stunning open beam ceilings, with an air of uiet content that filters through the property.

The grounds in which Brewer Farm lies are truly breath-taking, and one couldn’t be blamed for spending an afternoon wandering amongst the apple trees that have taken up residence in the nearby orchard, or across the fields that surround the cottage, exploring the boundaries of a simple country life.

The recently refurbished dining room and reception hall welcomes you inside onto traditional tiled floors to the enchanting sight of an exposed granite fireplace and ceiling beams above, beautifully lit by the front aspect sash window. Through the brace wooden doors, you’ll find the living room, inviting you to take a seat by the wood burner

philip-martin.co.uk

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An -

ECO COLLECTION W O R D S B Y H A N N A H TA P P I N G | I M A G E S B Y LY D I A R O S E C R E A T I V E

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SUSTA I N

Using a unique sustainable material to create functional, practical, yet beautiful products inspire by nature.

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omeware brand LIGA (pronounced Leega) produce clean and contemporary ecofriendly pieces with their main collections including placemats and coasters, trays, trivets, tableware, kitchen textiles and eco dishcloths through to botanical home fragrances. Their ethos is to make everyday products sustainable and affordable. Founded in 2017 by husband and wife team Jennie and David Elderkin, this is a fast-growing family run business based in Cornwall with over 500 LIGA stockists across the UK, in addition to their bespoke collections created for global brands. The brand is very much connected to nature in the way it uses materials sustainably, their design inspiration and the charities they support.

The name LIGA originated from the acronym Lifestyle, Interiors, Gifts and rt, from the product categories Jennie focused on for her stores. The word LIGA can also

be translated as ‘collection of people’ in other languages, which appealed to Jennie.

“Change happens when we work together, so we now define LIG as collection of people who love eco living. One day it might be a word in the dictionary!”.

“I started with my own homeware shops just over ten years ago now in Cornwall and thoroughly enjoyed the buying element – knowing my customers and what they liked. een to find a brand that sourced materials sustainably, produced stylish and simple designs, I struggled to locate what I was looking for.

Deciding to start designing for myself and my stores, the first challenge was finding the right people to work with in manufacturing.

It’s been a challenging and exciting journey and I’m still on it.” says Jennie. Having her own retail shops gave Jennie the ideal opportunity to test products, identify bestsellers and learn from her customers what they wanted, allowing the brand to grow organically and rapidly.

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A B OV E Liga products use cork, a remarkable natural and sustainable ingredient

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SU STA I N

Cork is one of LIGA’s key materials (the cork they use is a waste product, grown and harvested in Portugal in the Montado forests) and is a key story for the brand. A remarkable natural and sustainable material, cork has excellent thermal properties, is impermeable to liquids and gases, super resilient, lightweight and hypoallergenic.

The eco-friendly process of cork harvesting enables the products to be made without the need for felling trees and without interfering with the delicate eco systems of the cork forests, ensuring the safety for their animal inhabitants. Cork forests, also play a vital role in the control of climate balance by absorbing a huge 32 million tons of CO2 each year and once cork is harvested it is still a living material, which continues to absorb CO2 long after it has been cut down. The

process of harvesting cork bark has remained practically unchanged for centuries, naturally and by hand – a highly skilled and specialised industry.

“The design process for us is quite organic, sourcing materials and working through how they can be used best. It’s as much about learning about a product’s limitations as well as its benefits,” comments ennie. “We have a number of different people who we work with in Portugal from father and son family businesses to very large companies. The designs on the printed mats are inspired from what surrounds me where I live. All of our products need to be functional, practical and affordable, that is something I feel passionate about. I don’t want to create more waste – but use waste to create.”

TOP Cork being harvested in Portugal

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SUSTA I N

Drawing inspiration from nature, LIGA’s designs evoke the spirit of coastal and country living to bring a natural sense of balance into the home. Themes and imagery for their collections include wild flowers, hydrangeas, sunflowers, birds, coastal designs covering fish, crustaceans, wild swimming, fishing boats and waves.

“Living in Cornwall I am never far from the sea and its therefore no surprise that I love to connect with it anyway possible,” comments ennie. “We have had a cra y few years and a particularly busy last summer here in Cornwall and my sanctuary, my get away from it all, has been to jump onto our little boat and explore around the creeks and rivers. It’s not only been a great way to escape the crowds and chill, but the perfect way to

connect with our family and share in simple pleasures. Everyone is relaxed and goes with the flow which has inspired the boat graphics in our new collections that we have called bb and Flo.” The Elderkin’s family home on the south coast of Cornwall was lovingly renovated using eco materials, including cork for insulation.

“Our planet-friendly habits as a family are changing as we become more aware and constantly uestion things. We are making headway in many areas and in some we still need to do better,” e plains ennie. “We have installed a smart meter to monitor and learn about our electricity usage which is such an easy way to be more mindful. We have a hybrid electric car now and our electricity is sourced from wind power. Our attitudes have

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A B OV E ennie in the doorway of her eco store in Fowey

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WAT E R S H E D D

Architecture, Interior Design & Development

WAT E R S H E DD.CO M

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0207 659 0 885

ST U D IO@ WAT E R S HE D D.COM

26/10/2021 10:45

SU STA I N

changed and we are mending and repairing wherever possible rather than buying new, as well as growing what we can and not using chemicals in our home or garden.

We are also now learning to question the source of a product and look into how and where it is made and stopping to think whether we need it.”

In April 2021, the LIGA concept store was opened in Fowey, their first own-label shop.

Set in a Grade II listed building, once a medieval bakery, the store was designed to showcase their entire collection spanning 400 products alongside other inspirational, sustainable guest brands, including Swole Panda, Thought, Weaver Green, Luks Linen, Helen Round and Green & Blue.

The brand’s home fragrance range is handmade by a candlemaker in the store’s basement workshop.

LIGA has grown rapidly since its launch, now employing a team of 40 people and over the past year has been featured in range of national media titles including The Times, Guardian, The Independent, Coast, You Magazine Country Living and BBC Good Food amongst many others.

“We have created our own ‘eco park’ just outside Truro with a renovated cow barn as our warehouse linked to a series of converted shipping containers, to provide us with all

the o ce, showroom and storage space we need. We have used a lot of our sustainable cork in the design for both aesthetics and practicalities and the team love working in this unusual and quirky space, overlooking cabbage fields and Idless Woods, muses Jennie.

Future plans see more exciting new product launches, the introduction of different types of sustainable materials for the brand and expansion into more global markets.

LIGA have also recently signed up to work with ‘One percent for the planet’ to support projects that help repair the environment, to start to give back what has been taken.

“Exploring ways to make our daily home lives kinder to the planet is something we should all be working towards,” says Jennie, who is passionate about each of us considering our everyday choices.

“We can all change one thing in our lives to be more eco positive and slowly but surely it will make an impact; but if we all jumped onboard and really gave eco-living our full attention, we could make a rapid difference, creating a better future for our children and coming generations.

We want people to be curious, to want to learn more about an eco-living lifestyle, to be inspired and be ready for change.” loveliga.co.uk

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C R E AT E

A fond re ection on the life and works of Jim Tinley

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s I flick through the fresh pages of The Art ife of Jim Tinley A Retrospective, recently published in collaboration with Porthleven Arts, it becomes clear how deeply rooted this local character and artist was in the close-knit community of Porthleven, and the story told by his wife, Susan Tinley, is one of personal connections and vivid reflections through his much-admired drawings and paintings.

After Jim’s passing in 2018, Susan was invited to exhibit some of his work during the first Porthleven Arts Festival, and the seed of an idea that their son Joe had previously sown began to grow. A retrospective exhibition in celebration of Jim’s life and art would take place in the Breageside Warehouse, with the blessing of Trevor Osbourne, Harbour Dock Co. boss and long-time friend of Jim’s It is more than 40 years since I first met Jim. His highly individual character was reflected in his art. His portraiture combines the essence of Porthleven, namely the folk who constitute the illage Community. Jim was uni ue and so are his paintings and drawings. The nature and character of the

artist is embedded and joined with the faces he recorded in his art.

I had two main objectives in holding this exhibition,’ explains Susan. I wanted to remind people of – and introduce others to – Jim’s extraordinary talent, but most importantly in an effort to suspend the meteoric speed of change for just a moment, I hope to retain some of Porthleven’s history through Jim’s pictorial images and to give old Porthleven families and their friends a sense of pride and ownership in the making of their town.

During the exhibition, Jim’s delicate pencil drawings and striking oil paintings were met with fond recollections for those who knew him and the subjects he captured, and a fascinated interest for anyone who didn’t.

After years spent capturing Porthleven’s characters, with all their idiosyncrasies, uirks and charm,’ explains Susan in the newly published book, Jim Tinley would himself go on to become one of those very characters, well and truly woven into Porthleven lore and a legend in his own time. porthlevenarts com

PREVIOUS Miss May Waters - Oils on board

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A B OV E Jack (Taily) aity - Oils on board

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TOP Willy Stevens - Oils on board

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4 adies and a ittle

A B OV E irl, Salt Cellar Hill

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A B OV E Rodney Charles Jeffery ewin - Oils on board

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A B OV E L E F T uke on Rinsey Beach - Pencil Drawing

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A B OV E R I G H T Tinley Boys – uke, Joseph and Jacob in the arden Pencil Drawing Oil on Canvas

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TOP Euchre in the Fishermen’s Shelter - Oils on Board

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A B OV E Clifford Kipper’ Richards - Oils on Board

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TOP Men on Salt Cellar Hill

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A B OV E Artist with Family Friend, Monica - Oils on board

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A B OV E Brenda Downing - Oils on board

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This limited edition book is a celebration of the artists for whom Cornwall provides constant inspiration. Intriguingly current and timelessly readable DRIFT Art Review is at once a valuable tool for collectors, a coveted addition to coffee tables for the year ahead and a collectible for those who value the enduring appeal of the arts.

Visit www.drift-cornwall.co.uk/artreview to reserve your copy (RRP £29.99) in advance of publication in January 2022 inlcuding FREE P&P.

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A B OV E Doreen Williams - Oils on board

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Woven in

WILDNESS WORDS BY ROSIE CATTRELL

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An ancient romance of wool and wood, passed down through generations into the hands of a Weaver.

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n the wild and salty frontier of Penwith, settled amongst sea thrift and ancient folklore, busy hands are at work weaving a story of landscape and heritage, of tide and tor. These skilful hands belong to Rachel Weaver and Eric Henry, partners in life and in their much-loved business, Henry Weaver Designs. With the age-old craft in her very name, Rachel seems to have been born for the trade, and hails from the rugged landscape that is Penwith. With her main occupation as an organic gardener, and having trained in conservation, time spent in the wilds of Cornwall is a fond and familiar occurrence for Rachel, a practise that would lend itself well to a new creative venture, as she so kindly explains I’ve always been interested in traditional craft. Weaver is in my name, I suppose that might have something to do with why I found this passion for it. I began playing around with a little frame loom a couple of years ago, and Eric was outraged at how ine cient it was, he really wanted to make something that we could do more with. So, he decided to build us a loom in the spring of 2020, which

was actually during the first lockdown. I was continuing to work due to the nature of my gardening, but his career changed and he found himself with some time and energy to focus on creating a project. So, we built our first loom.

With an extensive background in traditional sailing, and originating in Northern Ireland, Eric has a wealth of experience with traditional rigged ships, and found himself channelling his talents into something completely new in a labour of love and exploration. Built entirely by hand, and designed by Eric himself, the pair began a journey into unknown territory, as Rachel so fondly reflects We just picked up everything we know from our own research from books and videos, doing our own trial and error, working together on things. Two heads are better than one, and through that we’ve managed to get a really nice grasp of the trade ourselves. Neither of us have got any training in weaving at all, we’re completely self-taught in all we know. Eric’s very much our engineer. He’s got a mind that can just pull apart problems and find solutions for them uite uickly, and through that he

LEFT Sea Horses Scarf

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A B OV E Rachel s skilled hands weaving magic into the next scarf

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A B OV E Eight-shaft floor loom rigged up with the Newlyn Scarf (current stock) featuring the reclaimed oak shuttle

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designed and built our looms and tweaked them so that they’re running as they are now. We both weave, but I do the majority of the creative weaving myself and I tend to find our suppliers and build our customer relations, alongside our website and all the photography. Together we complement each other’s strengths, it’s uite symbiotic.

From excited beginnings learning their trade on a loom made from pallet wood and string, honing their talents and producing their very first hand-woven scarves, Eric has put his skills to the test once again to create the masterpiece of a floor loom that the pair use now. Built entirely from sustainably sourced redwood with a little bit of re-claimed oak, with hand-welded components precisely for purpose, the loom has a strange and beautiful familiarity to it. There’s lots of little rope works and little blocks, it really does feel a bit like a very small ship. It’s got a lot of components that you’d probably be familiar with, if you knew about traditional boats, like an anchor winch, explains Rachel. It’s very beautiful, with lovely curves and sweeping lines, and has been likened to something you might see in an elaborate home, there’s an art deco feel to it. It definitely bears a lot of similarities with traditional vessels and little ships.

With the support of a local merchant, Rachel and Eric decided to use good uality British wool from the outset, and began to weave the most enchantingly uni ue scarves.

It was important for us to be stocking really good uality wool, knowing that the animal welfare standards were there and there’s traceability aspect to it, with completely natural fibres, explains Rachel. We realised that we were making something of a uality that people were really enjoying, and so we started to gather a little support from our local community. We’re pulling in all of our inspiration from the environment,

living completely on the coast, in the countryside, each piece is completely nature inspired, land and sea. That really spoke to people, a Cornish narrative people could connect with it.

Having spent her life living by the sea, and now finding herself continuing to explore the borders of the land with their right-hand border collie, Bran, Rachel draws enormous inspiration from the natural world I’ve always lived very close to the coast, so it feels like the salt runs through my veins. When you have always lived and breathed life by the ocean like this, it forms an enormous part of your world. The seasons and nature definitely play an important role in what we do. The Kingfisher Scarf I named because I sighted a kingfisher that week and I just felt drawn to those colours and I wanted to bring them into life.

The Sea Pinks Scarf just sings of those spring and summer flowers and sea thrift that we see on the coast here. We just bring in a lot of the colours of the land and seascapes around us, so there’s a definite blue theme inspired by the ocean in all of its moods, and a lot of inspiration is taken from Cornwall, the myths, the folklore, the heritage, the minerals that surround us, the granite, the serpentine, the uartz. So, it’s all about nature and botany, flora and fauna. The patterns in nature as well we try and reflect in what we do. One of the scarves is called Morveren after the Cornish word for mermaid, and in that pattern you can really see the shapes of scalloped shells and mermaid tails, fish scales almost. And with our Owl Scarf, I literally saw an owl fly in very close on a dog walk that morning, and I just decided I was going to pick out those colours and started weaving our first blanket scarf that day. It’s uite exciting to bring to life some ideas and add something more to our range as well. We’ve now starting to weave blanket scarves and

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TO P L E F T oomsmith Eric hard at work constructing the new floor loom

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A B OV E Tor and Tide Blanket Scarf

TO P R I G H T Rae, Eric and Bran on Portheras

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LEFT Cairn loose Scarf

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A B OV E Kenidjack Scarf

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add that to our range, and it’s just fantastic to be able to offer a little bit more and get excited about what we can do with that sort of width of fabric.

After careful preparations, Rachel will sit down to weave, and after about eight hours the end product is truly something to behold.

Weaving is very melodic and meditative, it’s very systematic. It’s nice to just immerse yourself into it fully, and when you’ve finished a scarf that you’re ready to cut off the loom and you’re presented with the end result, there’s something magic in that feeling. We hope to give enjoyment to the wearer, whoever they may be, by creating a medium to explore the natural environment through a beautiful, uni ue textile. More recently, Henry Weaver Desgins’ journey has unfurled into in-house botanical dying of their yarn, to bring a beautiful physicality of the Cornish landscape into their products.

Based on traditional twill designs, and using hand-picked British wool from merchants in orkshire and Cornwall, each scarf is created with a uality in mind to last a lifetime and longer We weave a lot of magic and charm and love into our scarves and what we make. We like to think they’re kind of heirloom pieces that are going to be handed down through the generations.

One of the things that inspired me initially was a scarf that was my grandmother’s, a chevron pattern in red and black.

It’s so beautiful, it really spoke to me and felt so intrinsically Cornish. It was my grandmother’s scarf, then it was my mother’s and now it’s mine. That sort of pattern really stayed with me and I wanted to incorporate that. ou can see a resemblance in the first scarf that we wove, the Cairn loose Scarf, named after one of the rocky outcrops down in St Just where I grew up, inspired by the heather and that sort of form and colour that you get down the cliffs there. My

grandfather, who was also called Eric, built my grandmother Cardellie a loom when they were very much younger. It all seems to have started a long time ago, and I like to think it was a kind of romance between wool and wood, and it’s all happening again a few generations down the line.

Henry Weaver Designs is entirely people powered, and has recently been awarded SAS Plastic Free Champion status. With Cornwall at the very heart of it all, the couple are seeking to forge long-term connections with local sheep and alpaca farmers, to find a new way to weave a Cornish narrative.

In a charming happenstance that has a ring of destiny about it, Rachel and Eric have found a way to speak their surroundings and communicate the landscapes that they call home. The magic of Cornish heritage and the ancient, natural beauty of the land is woven into each scarf to be worn for years to come and passed down through generations.

LEFT Mushroom Forager Scarf

henryweaverdesigns.com

TOP Owl Blanket Scarf

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Theatre of

WAR and PEACE WO R D S B Y M A RT I N H O L M A N

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Entering an artist’s universe composed of light and dark, imagination and reality.

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hen you step into Petrit Halilaj’s exhibition at Tate St Ives it surrounds you with an impression of Halilaj’s own experience of the extremes of human existence; of war and peace, life and death. His medium for this extraordinary transformation of a single space is drawing.

Hung from the ceiling of the largest room at the gallery – the cavernous extension excavated from a hillside, finished with white walls and floor, and a roof that filters in daylight – are row after parallel row of large-scale coloured images that drop from numerous lengths of yarn. Imagine stage scenery in a succession of painted flats and Halilaj’s installation will come to mind. The effect is theatrical and, once inside, the viewer feels naturally drawn into the spectacle.

The huge images do not reach the floor so you have to look upwards, as a child would

view the outside world. On the pathway that leads through the show, you pass images of lush foliage in bright tones of red, yellow and green. Tucked among the trees are exotic birds: some hover and others sit on branches with a background of blue sky and mountain peaks. There is a cheerful house with orange and red walls nearby, past which beautiful animals strut. Towards the end of the route, a vast and magnificent peacock takes wing.

The journey is magical: the surroundings belong more to a dream or a memory sugared with romance, rather than an actual setting. The images are obviously drawn and enlarged: black pen outlines are everywhere and colour energetically applied with thick hatched strokes. When the path reaches the plain white wall at the back of the room, you turn to retrace your steps to the entrance. At this point the dream turns to a nightmare.

Trees and birds give way to monumental

Petrit Halilaj: Very volcanic over this green feather, installation view at Tate St Ives, 2021.

Photographs: Tate Photography (Matt Greenwood)

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figures of soldiers in battle gear and disturbing blank silhouettes – the scenery shifts to the horror of conflict. Bright colours now signify explosions rather than shrubs and flowers, and lines of bivouacs stretch into the distance instead of hills. In one chilling scene, the ground between the trees has been disturbed into a mound of brown, raked over earth. The house reappears, now in black and white, burned out by flames. Nearby a red blanket, which before could have pinpointed a pleasant picnic, is hoisted sky high like a flag. It billows with the vague indentation of a body lying beneath.

Halilaj eventually fetched up in Kukës II refugee camp in neighbouring Albania.

But his father was in captivity and the family house destroyed by hostile bombing.

The camp provided no school but a team of visiting Italian psychologists began a therapeutic project there. To help the young people express the trauma of what they had seen, they were given paper and felt-tip pens.

Halilaj made 38 detailed pictures. Guns, knives and bodies proliferated, and harrowing scenes of tanks blowing up a family’s home, of bulldozers flattening a village – and a heap of earth marked a mass grave.

So, what is the imagined story and which the real event? For Halilaj, the contrast is personal and well known. No wonder the artist titled the show Very volcanic over this green feather, citing the geological eruption that can suddenly break cover with catastrophic force. By spring 1999, when he was aged 13, Halilaj was a refugee from his hometown of Kostërrc in Kosovo, in search of safety. He had already witnessed the bloody outbreak of the year-long war between the armed forces of Yugoslavia, a country in the drawn-out process of disintegration, and the breakaway southern province where the Halilaj family lived. Ethnic differences tore the territory apart. By the war’s end, hastened by NATO’s intervention, the death toll was estimated at over 12,000, with ninetenths of the Kosovar population displaced.

With his mother and other close relatives,

At the same time, however, vivid landscapes of idyllic peace and tranquillity spilled out of his imagination. Impressed by the teenager’s innate ability, Giacomo Poli, the team leader, kept the drawings to illustrate lectures and display in Italy. Poli also kept in contact with Halilaj, and some years later facilitated the young man’s art education in Milan, away from the instability of Kosovo. “I realised in Italy,” the artist commented later, “I had everyday life without an enemy.”

At that moment Halilaj set out on another personal journey. It has led him to being considered one of Europe’s most sought-after living artists. In 2013 he represented Kosovo at the enice Biennale, his country’s first appearance at the world’s premier visual art festival and won the prestigious Fondazione Ettore Fico prize. Exhibitions have also taken

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place since 2010 throughout continental Europe and in the US. Tate St Ives now hosts his first solo project in the UK. The drawings made in Kukës camp are the visual source of this show. They came to light again in 2020 and Halilaj asked Poli to send him scans but to keep hold of the originals.

Perhaps the psychological distance offered by digital reproductions from the violent events in the drawings enabled the artist to again deal with this period in his life at close quarters. Halilaj enlarged his images to the scale of hoarding posters before selecting details such as the birds, trees, soldiers and camps, the raked over ground to be cut from sheets of thick felt on to which they were printed. The modern technology contrasts with the ancient natural fabric, while the yarn the sheets hang from looks homespun and hand-tied at points as if it had been assembled around a family table.

One reason that Halilaj has acquired international attention is the visceral quality of his storytelling, with personal biography always his starting point. Fragments of family history build into broader narratives that immerse his audiences, initially because he often works on a larger-than-life scale.

In 2010, he reconstructed the family home destroyed by Serbian militia inside an exhibition venue in Berlin, assisted by his father and other relatives. Using materials collected from the Skenderaj commune

where he grew up, the structure remained an open framework hung from the roof like a memory hangs in the air. Adopting unfamiliar viewpoints has a purpose: it can encourage us to question our surroundings in a way that alters our expectations. The spirit of this work was clear, not as a place to inhabit but as a symbol of absence and loss, and of the enduring desire to belong. Houses are shared places where private and communal uses mix and, as such, they constitute Halilaj’s vision of a future society where different peoples co-exist without friction.

Another reason for his growing prominence is his evocative use of simple materials. His installations tend to be conceived specifically for each venue, as in St Ives, although his lifestory is the constant subject of his drawing, sculpture, video, writing and performance.

While their resonances are complex with meaning, the materials are every day. Wood features in past work, as does earth, water, organic fibres and clay, sometimes juxtaposed with metals like copper and brass. His choice has an emotional charge; imbedded in memory as strongly as the earth in which his family home was rooted. Through these media and the objects he has modelled with them – replicas of his mother’s jewellery made up one show and his grandfather’s walking stick featured in another – the artist tries to communicate thoughts beyond the personal to viewers with very different histories. Possessions have significance for

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C R E AT E

all of us, as does their loss; they stand for more than themselves.

In Venice, Halilaj stacked a thicket of branches against a wall with two narrow openings for visitors. On squeezing inside they could feel enclosed by nature – its texture, fragrance and colour – as a retreat or hiding place from external events. In the past he has included live animals, such as the time he built a hen house in wood in the shape of a rudimentary space rocket. The interior was painted an intense blue and the overall effect was curiously surreal another ideal environment in which to live lavished on creatures seldom so well treated. The coop was placed outside the museum and the birds could enter and leave as they wished, and wander into the exhibition building itself along with fellow visitors on two legs.

Birds and insects have a special importance for Hallilaj and have featured in several projects. Perhaps he is attracted to their freedom of movement across the globe, stopping at intervals to rest in hospitable locations of their choice. Halilaj knows well that humans are denied that liberty.

Recalling his own upbringing and his enforced expulsion from a homeland threatened with extinction, he reminds his audience that identity exists elsewhere than in national emblems. He now moves freely between Italy and Germany, returning to Kosovo to participate in its emergence as an independent state, although one recognised by only half the UN’s member countries.

Looking carefully at the hanging drapes in this exhibition, every so often a feather appears, tucked into the stitches sewn into and around the images. The artist has collected them in different places, including Cornwall, and brought them into the gallery from outdoors where they add texture as well as a note of humour.

“Landscape,” Halilaj said recently, “is what remains and gives us dreams of the future.” His installations look towards the future when hierarchies between creatures, identities or ideologies have evaporated and everyone is content with an equal footing.

A utopian outlook, maybe, yet it carries a message of hope and resolution into a world riven by dissent and subject to catastrophe.

But optimism is balanced by a warning against a backward step. Walking forward and back through the images in St Ives, one figure appears twice. It is a small boy and he stands with his hands lifted to his face.

Viewed in one direction, he might be amazed by the wonderful fauna and flora around him; seen from the other, his expression telegraphs his shock. It is the same boy and how many children on this planet have yet to observe these events?

Petrit Halilaj: Very volcanic over this green feather continues at Tate St Ives until 16 January 2022. tate.org.uk

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Delivering the

GOODS WO R D S B Y H A N N A H TA P P I N G

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SU STA I N

The plastic-free, fresh fruit and vegetable box delivery service that is bringing produce to busy, young families.

T

he spring lockdown of 2020 might seem like an odd time to launch a business, but that’s exactly what Cornish mother of two Katie Sawday did, and the seeds that she sowed whilst we all stayed at home have flourished.

“We were in the midst of planning and testing FruutBox when the pandemic hit,” says Katie Sawday, who co-founded the business with her husband Jamie. Friends and family who knew what we were cooking up urged us to launch there and then, to fulfill a need locally for families to get their fruit and veg without having to leave their homes to go to the shops. We had registered the business back in September 2019 and our initial plan was to launch in the summer of 2020 but instead we jumped in, bought a refrigerated van and started to deliver locally, adding more postcodes around Cornwall and into Devon as word spread and orders started to come in.

Katie describes her own two young children as a pair of little fruit bats . The family’s efforts to reduce the single use plastic packaging in their recycling bin each week led them to realise that one of the worst culprits for their family was fruit and veg packaging.

Katie’s husband Jamie has a background in fresh produce wholesaling (and grew up on a farm) so knows the industry well. They decided to take matters into their own hands, and created the service that they wanted, but couldn’t find.

As well as the initial focus on eliminating singleuse plastic packaging, they also champion local producers and their entire offering is designed for young families.

“I wanted the contents to be the same every week, so that families could plan their meals ahead and not have to respond to what is delivered, Katie told me. We’d tried veg box schemes before, and the reality of trying to work out what to cook using a Chinese

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A B OV E Katie and Jamie Sawday

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SUSTA I N

cauliflower or some other unusual item isn’t that easy when you’re making dinner for little people. I wanted to offer boxes that made life easier for young families, not harder.

That’s not to say that you can’t get a Chinese cauliflower in your FruutBox should you so wish – they have a Funky Veg box with contents that change every week if that is what you’re after – it’s simply that most of the set boxes in their range are full of exactly the sort of fresh produce that people put in their supermarket trolleys each week.

Whilst delivering apples in July, or bananas at any time of year, means that FruutBox are selling some imported produce in just the same way as all supermarkets do, Katie and Jamie have gone on a mission to both explain the realities of seasonality and food miles to their customers as well as to offer locally sourced produce whenever they can to try and strike a balance.

“We have some Cornish produce, such as strawberries from Mevagissey, lemons and limes that are grown in an unheated glasshouse on the Roseland, and St Enodoc asparagus to name a few. They are only

available for a short period, so we offer these as add-ons to customers,” Katie explains “But there are also products that we put in FruutBoxes all year round, such as apples.

There are only two apple harvests each year – one in the northern hemisphere and one in the southern hemisphere, so for half the year our apples are from the southwest of the UK and the other six months, when no local apples are available, we import them just like everybody else. Having those doorstep conversations with our customers every week allows us to explain why that is though, which is a real privilege.

The logistics that have led to most supermarket customers expecting everything to be available at any time of the year are really quite incredible once explained. They are also a blessing and a curse to Katie and Jamie, giving them at once an edge over supermarkets on freshness and shelf-life, whilst also throwing up occasional financial hurdles. Katie explains how their shorter supply chain in comparison to supermarkets, who can have fresh produce sat in warehouses and distribution centers for days and weeks before it reaches the shop floor, gives FruutBox’s fruit and vegetables a longer shelf life and allows them to offer the same product without plastic packaging.

Supermarkets need that plastic packaging to extend shelf life, to accommodate their longer supply chain and to reduce the risk of food waste, which would have a worse environmental impact than that of the plastic packaging. As a small business however, to offer some produce all year round Katie and Jamie expose themselves to wholesale price fluctuations that are far more easily absorbed by supermarkets. Jamie’s background is in wholesaling fresh produce, with a specialism in berries, and that experience meant that before they even launched FruutBox the couple had worked out if and how they could absorb the extreme price hikes that some fruits

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TOP Championing local and package-free produce

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SU STA I N

and vegetables are susceptible to as seasons change and sources shift around the world.

There was a point in the spring when red bell peppers wholesale price was £2 each, but obviously nobody is charging their customers those sorts of prices. As consumers, we don’t even know about this and are so used to being sheltered from these price fluctuations.

For a start-up contender though, it’s a massive consideration.

As word of FruutBox spread from friend to friend and through mum’s groups and community networks, Katie and Jamie added more and more postcodes to their delivery area, eventually spreading out to cover most of Cornwall and into Devon. Confident that they had established a large enough base of subscribers and customers once restrictions eased and people began to return to their prepandemic shopping habits, this summer the couple moved Fruutbox from their kitchen table and a shipping container on their driveway, to a dedicated unit and storefront in New uay’s Prow Park. They’ve taken on a delivery driver and shop staff, and have expanded their offering from fruit and veg to include fresh plant and cow’s milk, juices in refillable glass bottles, sourdough bread, local eggs, pasta, rice and every parent’s essential coffee.

What has happened, though, to their initial plans for a nationwide service? “We continued to trial national delivery to friends and family in other parts of the country through the first year of the business, experimenting with different plastic-free packaging materials to protect the produce, and refining what that service would look like,” Katie says, “But as the demand across Cornwall grew and we developed further and deeper relationships with local farmers and growers, we realised that it would be better and more fulfilling to grow out slowly from our Cornish base.

We’re passionate about helping families

to reduce the amount of single-use plastic packaging in their lives, which is something that chimes with a lot of people here because of the immediacy of the marine plastic problem that we see on our local beaches. However, we’re also really enjoying making those connections between our customers and the amazing local produce grown around them.

Modern family life can be dynamic and nonstop and Fruutbox’s success over the last year and a half is testament to the way it has adapted to this. Because we get to see and speak to so many of our customers at their front doors, we get the sort of insights that money can’t buy. Those conversations work both ways – not only do our customers get to understand more about the fruit and veg that they’re eating, but we also learn what is important to them and what they really need; allowing us to adjust, adapt, and grow.

Those human connections are what really makes a business. fruutbox.com

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02/12/2021 15:05

Rainforest

REDEMPTION WORDS BY ROSIE CATTRELL

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C HA R I T Y

Working alongside rainforest communities to halt deforestation and make a change for good.

T

he state of the Earth is in decline, a solemn fact that we’ve all had to come to terms with in recent years, and it only seems to be getting worse. However, the team at Cool Earth (who work from Cornwall, Peru and the US) are well aware of the key to climate change, and have an answer to the ever-growing global crisis – the rainforest.

While we ponder all the ways in which we might bring these green lungs of the Earth back from the brink to breathe fresh life into our world, what is often overlooked are the people who call these rainforests home, where the lush green canopies and the harmonious symphony of wildlife form the borders of their lives. escribed as “effective biodiversity and conservation managers”, and the “primary custodians of most of the world’s remaining tropical forests and biodiversity hotspots” in a letter from the UN special rapporteur on the rights of indigenous people in 2019, those that call the rainforest home are fundamental to its recovery and protection,

and Cool Earth recognise the key part they play in our world’s future.

Looking back on a year behind the lens in 2019, Cool Earth’s in-house photographer Lewis Gillingham reflects on what he saw first hand along the way, and the effects that climate change is having on the people least equipped to manage it: “Along the coastline of Papua New Guinea are stark reminders that many are living with the effects of climate breakdown every day, and the di cult choices that are having to be made as a result. The most rewarding part of visiting rainforest communities is meeting and learning from the people that live there. It’s easy to think of rainforest as a pristine and untouched Eden, but the reality is often far from that. ital to remember is that those who call rainforest home play a key part in conservation. They are contemporary societies in a modern world with a rich cultural history and the knowledge to live in harmony with the forest.”

INSET Sim Kmao, crocodile warden

PREVIOUS Cambodia - All images ©Cool Earth

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TOP The Cardamom Mountains, Cambodia

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A B OV E Travelling deep within the rainforest

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Idenna Creative

A B OV E Papua New Guinea – Gadaisu

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A B OV E Jaime, a leader in conservation among the Asháninka

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C H A R I T Y

“Meeting rainforest communities around the world, the most obvious thing is not their differences, but their striking similarities, not only to one another but to communities and societies away from the tropics. Regardless of language, country or climate, we all have the same basic needs and necessities, we all have hopes, dreams and fears. It’s clear that we have a duty to support the entrepreneurial, determined people who defend humanity’s very lifelines yet face disastrous effects of our carbon emissions.”

While Lewis’ work cannot make you feel the change in the Earth’s atmosphere, it can unveil the harsh effect it’s having on the people who are most at risk with the work of his lens and shutter: “What makes the extent and severity of climate breakdown di cult to grasp, is that it is, for the most part, invisible.

We cannot feel rising atmospheric carbon levels. This intangibility makes raising awareness a challenge for photographers and climate change communicators. However, what we can see, and capture, are the effects that a changing climate is having on people and places right around the world.”

In response to a landmark deforestation pledge announced in November at COP26 to halt and reverse deforestation and land degradation by 2030, with £8.75 billion of public funds committed to protect and restore forests, alongside £5.3 billion of private investment, Cool Earth’s Director Matthew Owen made sure to make the charity’s priorities heard. “Today’s deal for forests at C will make ero difference unless it gets behind the real climate crisis experts; people who live in rainforests.

The G20 has spent a decade ignoring,

marginalising, or tapping indigenous peoples for cheap carbon offsets. If global leaders are really serious about ending deforestation by 2030, the promised billions need to go direct to communities on the ground. Cool Earth has been backing indigenous people and local communities for 15 years and has shown it is the most effective, scalable, and just way of keeping trees standing. If we want to get real about rainforest rather than just repeat the false promises of COP21 in Paris, we need to start by addressing social and climate injustices for people who live there.”

By supporting local and indigenous knowledge to develop innovative ways to address threats to the forest while making communities stronger and more resilient, Cool Earth are able to share the best ways to protect the rainforest through their firmly established network of partnerships around the world.

LEFT Crocodile wardens keep watch on their daily river patrol

coolearth.org

A B OV E Siona Dauge by the fallen landmark tree, a symbol of rising sea levels and climate change

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C O M M E N T

Eventide

WORDS BY SAM BOEX

P

addling out, the water was dark, the air was cool and I could see people in the far distance dotting the horizon. The water under my board flowed uickly, forming eddies and the current pushed me uickly across to an area I didn’t want to be in close to, the harbour wall. As the wall loomed closer, I paddled hard to move away to get out to deeper water.

My body started to fill with adrenaline, my arms heavy, having to focus with the current moving uicker than I could paddle. nowing I had to get out of this, I concentrated on paddling across and not into the current, eventually making my way out of the turbulent body of water, into the calm.

The waves were big that day, one of the biggest swells of the year. As these waves pushed forward and rose out from the sea the nervous hoots and shouting could be heard from the crowd, each set increasing in size. I took a few waves, jostling with the pack of surfers but I held back on a larger set that loomed from nowhere, a guy I recognised instantly turned and paddled, the difference in that moment was that you could see the commitment and focus in his eyes.

Fear is such a strange emotion how often do we push ourselves to the edge of our comfort one? It’s almost an invisible boundary we set ourselves from past e periences. It’s also impossible to measure and totally uni ue to the individual. The evolutionary reasons are clear, to protect ourselves and people close to us.

In 2018, my twin brother and I started a new business with a sustainable packaging product we had no idea would work or be adopted

by anyone. We both intrepidly crossed that boundary into no man’s land where those feelings of fear started to kick in. Once again, with focus and determination, we started to explore this new space; we met people and businesses who could help us along the way. We formed a team of people who all had the same drive and passion for change (one of whom rowed across two oceans) and now Flexi-Hex products are now being sold globally with over two million sleeves sold to date. I do sometimes wonder what would have happened if we hadn’t crossed that boundary?

When I got out from that session, I felt deflated knowing that I had the experience and tools to cope with the challenges of that swell, yet I didn’t push myself out of my comfort zone.

Taking what I had learnt from that situation, I tried again the next day, I pushed a few more boundaries and was rewarded with a totally different e perience.

When we do push ourselves out of our comfort one into no man’s land, it can feel incredible, disorienting and evoke feelings of fear and panic. Yet, when you sit with it and accept you are there, you have this strange feeling of possibilities and opportunities suddenly arising. When the boundaries are gone, then anything can be possible. For some people this boundary might be just going to the shop and having to see and deal with people or it could be as much as rowing an ocean. The most important thing is that we learn how to push ourselves to our individual needs, and the rewards can be life changing. e i-he .com

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Untitled-3 1

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