DRIFT 18

Volume No18

£10.00

Achieving

A VISION

Finding the courage to follow your heart is perhaps one of life’s greatest accomplishments

THE

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L U X U RY

L I FE STY L E

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C O R NWA L L

19/01/2022 17:09

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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01872 306 360

info@rohrsandrowe.co.uk

20/01/2022 15:28

T HE

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L I F E STY L E

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C O R N WA L L

Drift /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 Taken from above at Sennen, this photograph was shot and supplied by Carl Brightman. See more of his work from page 23. carlbrightman.co.uk

CEO

Editor

Ben Pratchett – 01326 574842

Hannah Tapping

Miguel Belert

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miguel.belert@enginehousemedia.co.uk

Operations Manager

Content & Project Manager Dan Warden Managing Director

dan.warden@enginehousemedia.co.uk

Finance & HR Manager

Creative Designers

charlotte.forster@enginehousemedia.co.uk

Richard McEvoy – 07771 868880 richard.mcevoy@enginehousemedia.co.uk

Charlotte Forster Spencer Hawes Jamie Crocker

Client Director

Digital Content Creative

Credit Control

Jonathan Perkins – 07587 072706

Megan Searle

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jonathan.perkins@enginehousemedia.co.uk

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PROUD TO BE PART OF

Drift 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 Drift 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.

21/01/2022 10:06

T E A M

Foreword Having the vision and bravery to think differently reaps reward. Combine this with talent and integrity and you have a heady combination. Cornwall plays host to designers, artists, makers and businesses whose endeavours are testament to their firmly held beliefs and visions. Many have swapped corporate city lives for the call of the coast enabling them to live lives well spent whilst telling stronger stories with greater clarity and conviction. North coast creative Carl Brightman, followed his heart and intuition, striving to let his inner voice sing through the medium of aerial photography (23); his images capture rarely-seen perspectives of the natural landscape that offer an intimate bird’s eye view. Private chef, Adam Banks chose a solo path, distancing himself from the traditional restaurant scene in order to sharpen the focus on his food (35).

Similarly, wine educator Debbie Warner identified a need for bespoke training and an increase in awareness of the world of wild wine (71). Michele Ferron, self-confessed serious business person turned creative, gave herself the gift of time when she embarked upon creating her calendar and planner business, Once Upon A Tuesday (83), while Brian and Judi Green left London for Tregony to curate a gallery with a difference (106). Their refreshingly intelligent and honest approach to art and exhibitions has made them the go-to destination for artists and collectors.

Ceramicist Jake Boex (124) identified a level of consciousness that goes beyond the verbal and embraces a deeper wisdom tradition that informs and shapes his work. All have a story to tell, which we invite you to unearth.

Our contributors

Hannah Tapping

Mercedes Smith

Dan Warden

Rosie Cattrell

Megan Searle

Lucy Studley

Join our team

Proud to sponsor

We have an exceptional and loyal team here at Leven Media Group but as a fast growth business we’re always interested in talking to outstanding individuals. If you’re a superstar of extraordinary talent then we would love to hear from you.

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 Instagram @driftcornwall. Join our exclusive e-journal 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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CO R NWAL L

21/01/2022 10:07

T: 01637 850850 | E: sales@dba.estate | www.davidball-luxury.co.uk

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David Ball Luxury is very proud to announce the sale of this newly constructed and totally bespoke one of a kind, upgraded, exquisite coastal home.

Occupying an elevated position perched above the mouth of the River Gannel tidal estuary is this stunningly presented executive family home.

The property itself was constructed back in 2020 by a renowned local Cornish developer.

The versatile family accommodation is spread over three floors with Porcelanosa flooring throughout.

Feature balconies and patios frame the breathtaking view from each and every floor.

The top floor frameless glass balcony welcomes in the sea breeze and is the perfect spot to unwind and take in the magical sunsets.

Nothing has been overlooked in this property’s design even down to the hardwired integrated celling speakers. The open plan kitchen/living area is slick and stylish and centres around the beautiful

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bespoke kitchen where you will find integrated Miele top of the range appliances.

The principal bedroom is located across the whole of the top floor featuring a full-length balcony complimenting this beautiful facility allowing you to make the most of the spectacular views and surroundings not forgetting the large custom-built walk-in wardrobe and the stunning ensuite with superior sanitary ware.

Externally there is a large granite patio perfect for alfresco entertaining as well as an unusually large, private, and sunny lawn. Completing this beautiful family home is a large garage and gymnasium/sun lounge giving you a lifestyle opportunity close to the water’s edge that most can only dream of.

GUIDE PRICE £945,000 | FREEHOLD

NO.12 | INNER TIDE LANE | NEWQUAY | TR7 2LL

20/01/2022 15:30

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20/01/2022 15:34

Nr Truro, Cornwall Truro 4 miles, Falmouth 10 miles, Newquay Airport 24 miles A charming detached thatched cottage steeped in history, offering spacious versatile accommodation amidst thoughtfully landscaped gardens, 3/4 bedrooms, 3 reception rooms, double garage, Grade II listed.

2,556 sqft Guide £995,000 01326 617447

J O N AT H A N CUNLIFFE

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Nr Fowey, Cornwall Fowey 4 miles, Par Station 2 miles, Bodmin/A30 8 miles, Truro 21.5 miles, Newquay Airport 24 miles An elegant Grade II* Listed Queen Anne house in a rural setting near the Fowey Estuary with 4/5 bedrooms and facing south over established gardens towards undulating countryside beyond.

3,251 sqft Guide £1.575m 01326 617447

J O N AT H A N jonathancunliffe.co.uk

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CUNLIFFE

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SO L

MORE PROPERTIES REQUIRED rohrsandrowe.co.uk

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Estate Agents

Truro 01872 242244

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Roseland 01326 270008

20/01/2022 15:45

WYE COTTAGE, REDRUTH CHARMING CHARACTER COTTAGE IN HAMLET LOCATION A unique opportunity to purchase a stunning Grade II listed Cornish Cottage situated in the desirable hamlet of Tolgullow. Full of character with many period features including exposed beams, thatched roof, sash windows and feature fireplace with Aga. Three bedrooms, sitting room, dining room, kitchen and bathroom. Front and rear gardens including a woodland area enjoying privacy and a sunny aspect.

Driveway providing parking for many cars and an array of timber storage units. Oil fired central heating.

Internal viewing is essential. Sold with no onward chain.

Guide Price £350,000 Truro 01872 242244

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Roseland 01326 270008

20/01/2022 15:45

Exclusive Coastal Bolt Hole Watergate Bay, North Coast Cornwall Just moments from the South West Coastal Footpath, Watergate Bay and the internationally renowned Watergate Bay Hotel. Immaculate reverse-level accommodation featuring two en suite bedrooms and open plan living spaces with access to decked sun terrace. Parking and outdoor storage. EPC = B

1,240 sq ft | Guide £1 million | Leasehold

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Chris Clifford Head of Sales 01872 243 201 cclifford@savills.com

George Hill Residential Sales 01872 243 205 george.hill@savills.com

Sean Anderson Residential Sales 01872 243 210 sean.anderson@savills.com

Staci Shephard Residential Sales 01872 243 206 staci.shephard@savills.com

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Marc Cottrell - Broker MC@nestseekers.com

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UNA St Ives, Luxury Holiday Villas With its famous beaches, turquoise waters, picturesque harbour and renowned art scene, St Ives is undoubtedly one of the UK’s premier holiday destinations. This coveted seaside town is filled with atmospheric cobbled lanes, bustling restaurants and independent shops, as well as its very own Tate gallery and Barbara Hepworth Museum.

Nestled on the fringes of this remarkable town, above Carbis Bay, Una St Ives is a stunning resort that artfully blends wellness and indulgence, sanctuary and community, lifestyle and investment. Purchasing a villa at Una St Ives means you’ll not only receive a 4.5% guaranteed return on your hassle-free investment – you’ll also enjoy up to six weeks a year in your very own holiday home in this unique corner of Britain.

Price on application

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C O N T E N T S

At a glance 23

A BIRD’S EYE VIEW

35

T H E PA S TA O R A C L E

53

HEIRLOOMS OF THE FUTURE

63

B RO T H E R S I N A R M S

71

WILD ABOUT THE WINE

83

THE MEANING OF A MOMENT

90

FINDING FREEDOM

92

L U X U RY H O M E S

106

Capturing the earth from above

116

On the north coast culinary scene

124

Tales of inspiration from Justin Duance

134

A empire in the making

137

A wonderful educational opportunity

147

Finding balance in the basics

154

A luxury lifestyle like no other

162

At the pinnacle of the Cornish market

A POINT OF DIFFERENCE Where curation meets authenticity

F O R T H E L OV E O F H O P S e craft of ipeline rewing Co

T H E S T I L L N E S S O F N AT U R E Taking form in clay and colour

B AT H E D I N B E AU T Y Immerse yourself with The Cove

O N T H E FA C E O F I T Finding the extraordinary in the ordinary

C U R AT E D I N C E L E B R AT I O N The release of the DRIFT Art Review

W H E R E N AT U R E T H R I V E S The beauty of Cornwall’s native residents

EVENTIDE e nal word, from

est eekers

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WAT E R S H E D D

Architecture, Interior Design & Development

0207 659 0 8 85

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STU D IO@ WAT E R S HE D D.COM

20/01/2022 16:07

A bird’s

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

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F O C U S

Following his heart and intuition, drone photographer Carl Brightman captures the earth from above.

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“I’ve always had a passion for landscape and love being outdoors. I think it’s part of what makes us human, and it’s a great escape for me from the pressures of modern life and a way to de-stress.” Carl’s father passed away in 2019 which had a huge impact on the path he followed realised after a conversation with my dad near the end of his life, that I didn’t want to miss any more opportunities or to go through life on cruise control.

Time is one thing we have no control over, and so it has encouraged me to live life for the moment. gave u on my ob and followed my dream of being a full time creative.”

north Cornwall based creative working in aerial photography for 17 years at Ordnance Survey, Carl Brightman’s background was in processing raw data into aerial photography blocks, much like Google Maps. As can happen when work takes over, he somewhat lost his passion for photography, but began using a drone in 2017 and hasn’t looked back. “I’m also now looking to get back into using a normal camera as well, which is where everything started for me,” explains Carl. y studies were lm based and I did all my processing and printing in the darkroom. I feel this has been a great learning curve as most of these principles can be applied in Lightroom editing software now use. diting for me is ust as en oyable as ca turing the image. ith the advances in Lightroom, it has become my new darkroom. It allows me to do so many creative things and achieve the images I envision.”

For his photography, and for anything else in life, Carl strives to live u to his vision on t be trapped by dogma – which is living with the results of other eo le s thin ing. on t let the noise of others’ opinions drown out your own inner voice and, most importantly, have the courage to follow your heart and intuition.” carlbrightman.co.uk carl_brightman

PREVIOUS iver olridmouth ove

INSET Carl Brightman

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INSET Chapel Rock

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A B OV E Sennen Cove

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TOP Bedruthan Steps

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A B OV E Bodmin Moor

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A B OV E St Catherine’s Castle

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A B OV E Iron Age fort

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W O O D F O R D ARCHITECTURE

INTERIOR DESIGN

Please contact us at our studios to discuss your project.

Woodford Architecture and Interiors Princes House, Princes Street, Truro, Cornwall, TR1 2ES Tel: 01872 248924 15 North Street, Ashburton, Devon, TQ13 7QH Tel: 01364 654888 www.woodfordarchitecture.com

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TOP Bedruthan Steps

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A B OV E Poluran

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A B OV E Polstreath beach

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UNIQUE / INSPIRED / CURATED / COASTAL

Forever Cornwall is looking for more unique coastal retreats for its Luxury Collection.

For a personal conversation please contact let@forevercornwall.co.uk / 01326 567838

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The pasta

ORACLE WORDS AND IMAGES BY JOHN HERSEY

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C U I SI N E

Making a bold impression on Cornwall’s north coast culinary scene.

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a classic Italian way – I’ve introduced some Scandinavian skills to my cooking – my values will always turn towards Italian food combinations and simplicity. I have Jamie Oliver to thank for bringing that style of food to my attention. More recently, Christian Puglisi has been at the forefront of Adam’s inspiration list; with an ethos described as no fuss no muss’ his style is creative, artful and understated. Christian has spent time at both El Bulli and Noma, two of the most in uential restaurants of our age, and is now running his own farm, alongside a bakery and pizzeria; he’s clearly not alone in re-thinking the context of his energies and supply of food to his diners.

dam Banks has graced some truly incredible restaurants with his presence; an impressive decade (and then some) under the wing of Jamie Oliver at his legendary beach-fronted ifteen was more than significant to Adam, in and out of the kitchen. A bold impression has also been made by Adam, in some of Melbourne’s finest restaurants, as well as experience in Copenhagen’s 108, sister restaurant to the three Michelin-starred Noma, and Christian Puglisi’s Relae, which both boast worldwide recognition, and cut edge’ to say the very least.

Adam describes his first day working for Jamie Oliver in 2006 as the day he knew he wanted to dive deep into Italian cooking; “The produce that we worked with was at such a high level, ust working there for that first day inspired my drive and love for Italian cooking. There is no doubt that it wasn’t ust the cooking that has shaped this chef, his temperament, kindness and commitment to quality is very reminiscent of the qualities we see in the household name that is Jamie.

Adam adds Although I don’t always cook in

In absolute embracement of our rapidly changing world, Adam has also steadily withdrawn himself from the traditional restaurant scene, and is now a somewhat feral chef, based in an industrial unit on the outskirts of Newquay. Without the glamour and theatre of a traditional highend restaurant, the focus is sharply set on the food, and this is clearly interpreted as a relief to Adam rather than a hindrance.

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A B OV E Adam Banks

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C U I SI N E

selecting ingredients always uxtaposed with bold, dynamic avours. Adam embraces tradition, particularly from Italy; his dishes are not only a great pleasure to eat, but each come with a story, a respect to the predecessors and masters of the craft from days gone by. An ongoing regular commute to Italy is really important to this process.

On every trip, he explores different regions of the country where he unpacks the diversity in ingredients and the unique approach each place incorporates into its traditions, with both intrigue to where ideas came from, and insight as to where they are going.

The shutters rise and reveal a meticulously prepared kitchen, a ewel of the estate, dappled in morning light. The pasta machine is shining in its place of utmost importance at the centre of the space, like a carpenter’s bench clamp, ready to engineer the rested dough into elegant, perfect lengths of workable fresh pasta, destined for satisfying plates.

The pandemic brought opportunity for Adam to bring his career back to the absolute basics, out of the restaurant space and into his own kitchen. Distilling his menu down to one or two dishes a week, and delivering himself by hand to his clients’ homes for them to put the finishing touches to themselves and serve on their own plates.

Adam’s delivery service uickly captured an audience and soon evolved from a couple of dozen boxes, to a full scale operation, seeing Adam darting round the neighbourhood with ample boxes of perfectly presented dishes, each signed off by hand with chef ’s notes.

Puglia has been of significant inspiration to Adam in recent years. The region is the epicentre of Italy’s olive oil and durum wheat production, with such a uni ue climate these delectable treasures are so diverse and complex in their story that a lifetime wouldn’t be long enough to discover the variety and subtleties in the offerings. Bread, our, pasta, oil, and burata are far more significant than the blank canvas status they are often assigned. Stale bread for example is a key ingredient in Adam’s ribolitta which, with his handmade pici pasta, is prepared with ust four simple ingredients; black pepper, lemon, butter and pecorino, all barely processed and always in delicately allocated uantities, giving them space to sing at their own volumes.

Perfectly balanced on the palate in Adam’s signature style, the result is comforting, rustic, and undoubtably endorsed by the experience of an open mind.

Naturally, his offering is evolving at pace, and with this fresh, unleashed format, Adam serves his food at private events, niche corporate gatherings, and special dinners around Cornwall, in locations ranging from restored farmhouses, neighbourhood restaurants and prestigious art galleries.

Working with long term collaborator, Perry, of Newquay’s aspirational and masterfully curated MMW, the events are supplied with consistently surprising and fascinating wine offerings, perfectly paired. The experience and quest for the edge of expectations brings elements of discovery to the dining and comfort outside of the traditional zone. There is a poetic nature to the food, his delicate, kind and gentle approach to

It’s clear that there are bottles of olive oil and bags of select our in Adam’s larder that he treats as prized possessions. Subtleties, that many people wouldn’t even notice, become part of critical decisions in the dishes and these subtle and extensively researched

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A B OV E What some may consider to be humble ingredients are elevated to take centre stage in Adam’s dishes

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7% FIXED RATE *

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Wake up to tranquility? Yes! Feel at Home? Yes!

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C U I SI N E

conventional farming systems and putting progress and integrity before profit. There is something so utterly sublime and humbling about tasting food created in this way – a oy, satisfaction and nuance that makes unconscious food consumption seem futile.

elements seem to be the glue that holds the cooking together. There are no shortcuts to the cooking. The dishes pride themselves on integrity to the ingredients and the energy of the hands and heart of the growers that produce them. Often humble ingredients like cauli ower, semolina, cabbage and beans take centre stage in dishes that are delicate, nostalgic, humble and memorable.

Adam’s relationship with the farmers of the ingredients in his dishes are imperative in his story and to the avours he weaves together like watercolour. The freedom in his sourcing enables him to work closely through the seasons to ensure that what is on the plate is respective of the season, of nature, and of the landscape in which he resides.

Dining together is so imperative to our culture, and the extensive variety of chefs, concepts and innovations in Cornwall’s food scene are constantly challenged to adapt and realign with the social and economic conditions.

Adam is just one of a very generous handful of the county’s food pioneers who continue to entertain and satisfy mouths, souls and collectives in the Cornish community. ood, the way we eat, who we eat with and who cooks for us is more than just the satisfaction of the bite, it’s a metaphorical mirror to who we are, where we’re at and where we’re heading – a mindful check-in to the tone of our lives.

Notably, his relationships with growers, barely outside of his postcode, are an ecosystem in themselves.

You get the feeling when talking to him that these relationships enhance his empathy to the soil and sun under which the produce grows and are e ually as vital as the craft of curating those delectable treats of the earth onto the plate. Paul Salmon of Newlina Eco Gardens (St Newlyn East), and Meg Travis of One Field Farm (Crantock) are two of Adam’s closest collaborators. Like Adam, both of these radicals put the earth, and the wellness of the hands that farm it, at the centre of their purpose. There is more to this farming than just producing food; these people operate with an integrity, transparency and grace so honourable and inspiring, absolutely unafraid to challenge

I know I’m not alone in wanting to shine a light upon and honour the heroes of the industry that feeds us and hosts our gatherings. It’s time now, more than ever, to celebrate, champion and keep these food heroes, chefs, producers and hospitality staff on a deserving pedestal, to be a community that stays committed to their journeys as they evolve, to keep exploring and to create an economy and safe space for our chefs and growers. adambanks.uk

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A COLLECTION OF 2 & 4 BEDROOM LUXURY COASTAL HOMES COMING SOON TO PORTH, NEWQUAY

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C U I SI N E

The Italian

INFLUENCE Freelance chef Adam Banks draws from a local larder to create dishes that nourish both body and soul.

adambanks.uk adam___banks 45

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C U I SI N E

Bean soup SERVES 3-4 INGREDIENTS: Cannellini beans or borlotti beans (preferably dried, soaked overnight)

1 white onion, peeled and finely sliced

Savoy cabbage or Tuscan kale washed and shredded

Dried chilli akes

2 garlic cloves, peeled, crushed and roughly chopped

Pancetta lardons (optional)

Sage

2 tbsp tomato purée

Sun ower oil

Day-old sourdough

Extra virgin olive oil

Vegetable stock

Method Drain and rinse the soaked beans, add to a pan and generously cover with cold water, add a few sage leaves. Bring to a simmer and cook the beans until soft with a slight bite.

Next tear around 150g of day old bread into the pan, add the shredded cabbage and again stir all together. Finally, add enough vegetable stock to just cover the vegetables and bread mixture. Leave to simmer and cook for 35-45 mins. The bread will soak up the vegetable stock so be sure to add more as it cooks to keep liquid in the pan.

In a separate pan, heat 2 tablespoons of sun ower oil and add the onion and garlic.

Sweat them on a medium heat so as not to colour too much. Add the pancetta lardons and begin to fry.

When the soup has cooked for about 40 mins, remove from the heat. It should be lovely and thick at this point. Finish the soup with a little salt if needed, a splash of red wine vinegar and a really good glug of extra virgin olive oil.

After around 5-10 mins of slowly frying the pancetta to release some of the tasty fat, add two pinches of dried chilli, tomato paste and the cooked beans and stir all together.

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C U I SI N E

Pici Cacio e Pepe SERVES 3-4 INGREDIENTS: For the dough:

For the sauce:

180g 00 pasta our

Black pepper (in a mill or freshly ground)

180g semolina rimacinata

Butter

10g salt

Pecorino

168g boiling water

Lemon wedge

Method Bring a large pan of salted water to the boil.

Add the pasta and cook for 6 minutes. During this time heat a large frying pan on a medium high heat. Add 2 ladles of the pasta cooking water to the pan and now grind black pepper into the water or add previously ground black pepper. Add the butter and allow it to start to melt. Reserve some of the cooking water in a jug, strain the pici and add it to the pan of black pepper and butter, toss the pasta in the sauce so that the sauce starts to thicken.

Combine the f lour and semolina together in a bowl. In a separate bowl, add the salt and pour over the boiling water. Make a well in the middle of the f lour and add the water and stir together with a fork. As the mixture starts to come together, tip it out on to a surface and begin to knead the dough so that all combines to one mass. Continue to knead for 10 minutes, rest the dough in a container with a lid.

After the dough has rested for about 30 minutes cut it into 4 pieces and, using a rolling pin, roll the dough so that it is about the thickness of a pencil. Then cut 0.5cm strips from this at piece and roll the strips into thin noodles (pici). Dust with semolina to prevent sticking.

Repeat the process with the remaining dough.

Remove from the heat and grate a heap of pecorino onto the pasta and toss the pasta into the sauce and cheese. Add a squeeze of lemon juice and if the sauce is looking a little thick add a splash of the cooking water. The sauce should be thick and velvety looking. Check the seasoning, adding a pinch of salt if needed, and then serve up.

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C U I SI N E

Pan-fried hake, Jerusalem artichoke, kalettes, anchovy and hazelnut SERVES 2 INGREDIENTS: 2 x 150g pieces of hake

2 long banana shallots, peeled and finely sliced

300g Jerusalem artichoke, peeled and diced into 1 inch pieces

20g toasted, crushed hazelnuts

150g kalettes of similar cabbage, blanched

30g parsley roughly chopped

1 lemon

2 anchovy in olive oil fillets

Method for base Begin by removing the fish from the fridge, allowing it to come to room temperature.

Now the shallots should be getting really soft and sticky, turn the heat up and add the kalettes to the pan so that they begin to fry and crisp up around the edges.

In a bowl, add the hazelnut, zest of half the lemon, and the chopped parsley, mix together and leave to one side.

Heat a frying pan and add a splash of sun ower oil and a knob of butter. Once it’s hot add the fish skin side down – the fish may spit and crackle a little so take care. Cook the fish skin side down 75% of the way; this should take 3-5 minutes, try not to move the fish around too much as this will stop you achieving a crispy skin. Once the esh side of the fish feels warm to the touch the fish can be ipped over and finished off the heat in the pan for about 20 seconds. Serve the fish on a warm plate with a spoonful of the artichoke puree. In a separate bowl serve the kalettes with a good sprinkling of the hazelnut mixture. Add a little squeeze of lemon over the fish.

In a small pan add a splash of sun ower oil and heat on a medium heat, add the shallots and the anchovy and begin to cook slowly.

In a separate pan with a lid, heat a splash of sun ower oil and a knob of butter on a low to medium heat, add the artichoke and stir. Cook the artichoke, stirring occasionally, but making sure to replace the lid after stirring, until very soft with colour. Turn the heat down if its getting too much colour too quickly, allow the artichoke to catch slightly so that it caramelises. Add the soft artichoke to a blender, with a pinch of salt and a little splash of white wine vinegar. Blend until completely smooth.

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Heirlooms of

the FUTURE WO R D S B Y DA N WA R D E N

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D I A LO G U E

Life-changing inspiration, nowadays, is rarely found on the shelves of a university library.

N

However, travel, surfing, music and a general lack-lustre attitude wasn’t working for me very well at Portsmouth. I never understood the briefs and was pretty uninspired. After a few months of this meandering I found myself in the library and spotted a book on contemporary jewellery. I had no idea jewellery could be anything you want it to be. It doesn’t have to be made from precious metals and covered in gemstones; really it can be anything. Jewellery could be made from plastic or concrete and treated as a small, or sometimes not-sosmall, work of art. I was actually inspired!

I never looked back, completing all the projects as small pieces of three-dimensional art. I continued in education and studied a BA in Jewellery and Silversmithing at Sir John Cass Faculty of Art in London.”

ow at the helm of a thriving, sustainable jewellery business on the outskirts of Penzance, with a growing team of creative artisans, I ask Justin Duance to tell us a bit about his background and how he first came to start making jewellery.

“Coming to the end of my A Levels, I was still a bit of a drifter with no real idea about where I was going.

I had played in various bands with some success and really just wanted to travel, surf and play music. Fortunately, my mum had a slightly different vision for me and nudged me in the direction of more education. Since I was creative and was always making things, I decided to do a foundation in art for a year at Portsmouth University. This was a course needed to move onto a degree in a creative subject.

INSET Justin Duance

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TOP Cast in sand for true uniquity

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A B OV E You can purchase the sand mould your ring is cast in

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TOP Choosing a bespoke sand-cast ring

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A B OV E No two bands are the same

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D I A LO G U E

else in the country, so as soon as my lease was up in London, I returned home.”

Initially, Justin focused on men’s jewellery. Or, rather, jewellery that he would want to wear, which he explains tended to be quite chunky, combining organic materials and metals.

“Although not necessarily male or female, I did get a reputation for making men’s pieces,” he says. “Not many contemporary jewellers were making pieces like this 22 years ago, and I think it helped me when starting my business. In reality, I would say that I had equal male and female customers, going to show that there isn’t really such a thing as ‘men’s’ jewellery – it’s just a matter of style and preference.”

Justin’s focus, as a designer, has always been on using the contrast between materials and how they interact. “We consider our jewellery unisex; at the end of the day, what people wear is up to the individual. We’ve made all sorts of things for all kinds of people. I think my focus has always been to make jewellery approachable, to make pieces that people will wear every day, that mean something to them. Our jewellery isn’t held on a pedestal.”

It is, however, constantly evolving. “The jewellery style has changed a lot over the years, re ects Justin. The designs are in uenced by the team. It is a group effort and everyone’s style and technique go into creating what we have to offer. Having said that, we still make designs that I made 20 years ago.

Pieces then started off with a more angular, architectural feel, but now I really like more organic styles so you can see the piece is made by hand. Mostly, new pieces are dictated by a technique or a new material.”

So what about his connection to Cornwall?

How and why did Justin come to launch a business here? “I was born in Truro, but my father was a Civil Engineer so when I was little, we moved away and I spent my formative years in Iran and Sudan. However, all of our extended family lived in Cornwall, so we would regularly come back.”

Justin’s first outlet was actually in London.

“You wouldn’t say I ‘launched’ the business,” he says. “It was more a fortuitous circumstance dealt by the hand of fate. In the days after university I struggled to get a job, so one day I decided to take some of my jewellery into a shop in London. They wanted it, and I never looked back, deciding to make and sell my jewellery rather than getting a job. I always had a jewellery bench in my bedroom to make pieces at home, so it was an obvious step. I was lucky,” he admits, “I never had to get a job, selling enough to survive and gradually build a business from it.”

Justin recalls only a few years ago, when he and his team found a source of fully traced

But as is the case for so many with ties here, Justin’s familial roots in Cornwall never ceased to call. “My dad lived in Penzance and there,” says Justin, “he helped me taking my work into local galleries. Before I knew it, I had my work in more galleries in Cornwall than anywhere A B OV E Vintage diamond rings, cut by hand in centuries past, pair perfectly with organic sand-cast bands

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in uence and skill of so many brilliant people, and I wouldn’t be where I am now without them. That’s the beauty of a team.”

rough sapphires, which led to the launch of their Rough Stone Collection. “In more recent years, we’ve started doing more bead setting, which has led to us finding creative ways of setting stones as if they have grown in the metal, like our Sandcast Scatter Rings.

It’s a particularly good technique for vintage stones that are more irregular in size.”

Having lightly touched upon them, I ask Justin to explain the idea of sand-casting, and how the thought first came to him. I started trying to use sand-casting to cast precious metals around rough gemstones in 2008,” he says. “I really liked the texture that the sand left and shortly after started using beach sand to create a more distinct texture. I really like how you never quite know how the ring will turn out.”

Already in uenced by the team, techni ues and the sourcing of new materials, Justin explains that customers are also a constant source of inspiration. This translates into an understanding of the personality, history and uniquity that augment the family heirlooms that so many customers bring to the workshop, which in turn creates the challenge of developing new, beautiful and sensitive ideas to help reimagine these most treasured of items.

It took him some time to refine the technique, but it was worth it. Here in Cornwall, at a time when customers are increasingly on the hunt for products with both personal meaning and individuality, it was truly a move of ingenuity. At first, we would use sand from Newlyn, where our workshop was based. We started telling our customers about the Newlyn sand, and this evolved into the odd person collecting their own sand from a place special to them for their jewellery to be cast in. We now have an ever-growing collection of hundreds of sands from all over the world that customers can choose from. It’s a lovely way of personalising your piece – the sand not only creates the texture; tiny grains are also captured within the metal, so you can carry a little piece of your favourite place everywhere you go.”

Over the years, Justin has undertaken some amazing commissions, including cluster rings made for a customer wishing to combine her late mother’s engagement and wedding rings; a couple who were pianists who wanted wedding rings to represent their musical character; and a complete re-imagining of an art deco ring – sand-cast, with the diamonds set into the texture. And while the nature of commissions that come through the door vary wildly, one thing remains constant, and that is that no one commission is the same. “It really depends on what we are starting with,” says Justin.

“Mostly, we are working on something that is based on a design we have worked on before, or the customer has some heirloom jewellery they want to change into something else. The type of gemstones, or amount and colour of gold; all can dictate the final design, says Justin. And therein lies the joy of jewellery design for him and his crew.

As a creator, Justin values the inspiration he takes from materials and techniques; how a new techni ue could create or in uence a new style, or dictate the design of a piece.

“Jewellery should mean something to its wearer,” he says. “Sometimes the most valuable piece might not be precious, but one given by someone special or bought in a special place and time.”

“There are now ten people working here,” he explains. “It’s amazing to have all the

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much immersed in nature. The workshop walls are lined with jars of sand from all over the world, given to the team by customers; all the tools and equipment collected over the years make it a space for creating interesting bespoke pieces of jewellery – “even down to the old hammers from my grandpa”, says Justin.

As a business, he summarises the ethos as “ethical”. Not just in the pieces they make and the materials they use, this ‘ethical’ standard is applied to the lives of everybody who works there, in Justin’s words, “making the business work for everyone’s lifestyle choices, and having an inclusive attitude to any major business decisions.”

Within this space, visitors will find that sustainability and strong ethics are very much at the business’ foundations. Incorporating recycled materials (all silver and gold is 100% recycled) as well as fully traced, and sometimes pre-owned, gemstones and diamonds, Justin explains that “the cuts aren’t always so perfect, but that means you get something with more character”. In fact, he is excited to tell me that he has now found a reliable source of vintage old cut diamonds, their irregular hand-cut shapes pairing perfectly with the stunning sand-cast bands. But that’s not all.

The team recycle almost everything they use, with only minimal waste; the workshop is

“We are a close team and the business is run by everyone in their own way. I wouldn’t say I’m the one who has made it what it is today.

Everyone who works here has worked towards our success. We feel a bit like a family; we celebrate birthdays at the workshop with feasts and cake in our lunch break, we go on days out… happy jewellers make better jewellers, after all On that note, I find myself wondering about the space in which they work. How does it inspire creativity day-to-day? Located in the woods outside of Penzance, the quiet location is very

A B OV E A peek behind the scenes

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arco2.co.uk

addsc.co.uk

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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D I A LO G U E

turn it into an extra texture sandcast ring with the diamonds set into the texture. It couldn’t have been further from the original and she was overjoyed. Even though the piece looks completely different, it is still made from those same materials and carries all the sentimental value and memories.”

heated using a heat pump, with electricity drawing from renewable sources only. The business was even awarded ‘Plastic Free’ status

by Surfers Against Sewage.

As an example of all of this, Justin reveals a commission for one customer and her late mother’s engagement and wedding rings. “She didn’t want to wear all three as they were, but wished to feel a connection to her mother,” he explains. “She commissioned us to make a piece combining the metals and all the diamonds. We based it on our cluster ring, and arranged her stones in such a way that looked natural whilst not being too ostentatious.”

In short, whether it’s a brand-new piece of jewellery, sand-cast with the grains of a beach far- ung, or the re-imagining of a multigenerational heirloom, a piece of jewellery from Justin Duance is the product of a better way of business. The team’s approach to sustainable design encapsulates character, sentiment and joy in equal measure, and their continual adoption of new, sustainable practices ensures a future-proof model for the creation of adornments that promise, themselves, to become treasured heirlooms of the future.

“Another client had a beautiful art deco ring that had belonged to three generations of women in her family. The piece was far too small for her and didn’t suit her style – she did say she had always been the black sheep of the family!” says Justin. “She asked us to

justind.co.uk A B OV E This commission couldn’t be further from the art-deco original, yet it still carries the same memories and sentimental value

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MADE IN CORNWALL – FOR OVER 30 YEARS

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Brothers in ARMS WORDS BY ROSIE CATTRELL

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I N SPI R AT I O N

A local tale of trust, collaboration and an unbreakable bond that has led to the success of multiple Cornish businesses.

F

The plan was to move to London to pursue a career in writing, muses Tom, but ultimately the lure of Cornwall, and the opportunity to run a business with my brother, proved to be too strong.”

inding your passion and living it as part of your reality would be regarded by many as the ultimate dream; to create your own career, alongside a product that you’re proud of, must come with a fabulous feeling of unrivalled freedom and satisfaction. But setting up a business in Cornwall is no easy feat, and success is becoming more and more di cult to grasp in the south west. However, I seem to have stumbled on a unique recipe for victory in business, and the two main ingredients come in the form of Cornish brothers, Tom and Sam Hanson.

Reminiscing on a life shaped by coast and country, Tom looks back on a fond Cornish childhood I can’t think of a better place to grow up than Cornwall. Our dad lived in an old farmhouse in the countryside so we spent a lot of our childhood playing outdoors, in the fields and on the nearby moors. We loved being active and spending time in nature – it was an inspirational place to grow up. As a child, you have so many opportunities for adventure and exploration. As an adult, you start to appreciate the natural beauty and the more relaxed pace of life. There are undoubtedly challenges with running a business in Cornwall, particularly when it comes to sta ng and balancing the seasonal nature of trade, but there are also unique opportunities and advantages that you wouldn’t get anywhere else in the country.”

Cornwall is in our blood, agrees Sam. On our mum’s side, our family have lived here for centuries and have operated a business here since 1894. Our great, great grandfather was a fisherman who drowned at sea, so his wife opened a shop in her living room to help pay the rent. That shop remains in the family to the present day and ultimately laid the foundations for all of our current business activities.”

Having grown up in the St Ives area, Tom and Sam were exposed to the world of business from the very beginning, with their mum owning the town-centre off-license and their dad running a local fish and chip shop. Having two successful entrepreneurs for parents, the duo would benefit from crucial experience from an early age, as Sam re ects I used to help dad in the kitchen of the chip shop, cutting up fish and potatoes, and Tom would help mum by packing up cardboard in the cellar of the off-license – it was a great introduction to the world of work!” While Sam exercised practical skills and trained as a chef in college, a skill which would come in handy further down the line, Tom went on to graduate from Bath Spa University with a first-class degree in English Literature and Creative Writing.

PREVIOUS Sam and Tom Hanson

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TOP Beer and Bird

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A B OV E Gourmet fried chicken and craft beer

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I N SPI R AT I O N

Juggler Rum was born during the first lockdown.

We’d been wanting to launch our own spirit for many years and due to both businesses being closed we finally had the time. We approached a design agency based in almouth – ingdom Sparrow – and started work on the design for a black spiced rum that would re ect the rugged Cornish coast and the smuggling traditions of the county. It took about 18 months from start to finish, but in the summer of 2021, we finally launched Crusty Juggler.

While Tom was finishing his degree, Sam got to work running the family off-license, Johns Wines, and noticed that there was a demand for more luxury items and locally-made alcohol, so he began to make some changes In 2014 we had a big refit and re-modelled the shop to focus on craft spirits, fine wines and local beers – it proved to be a great success and led to rapid growth over the coming few years.”

Drawn to Sam’s development of the business, Tom made his way home As I was finishing my degree and weighing up what to do with my life, I saw the great things that Sam was doing with the off-license and decided to come home to help him out. It was only supposed to be a temporary thing, but as the business continued to grow I decided to stay put. Sam had made some great improvements to the business already, and once I returned from university we really started to get some traction. Sales improved year on year and naturally we started looking to expand operations.”

Alongside Crusty Juggler, Tom began a side project to create a range of nutritional supplements to support digestive health, something he’s struggled with himself for many years. In a bid to find a way to find a way to improve these symptoms without the need for medication, Tom went on to create the luxury wellness brand, Trivas (meaning ‘to thrive’ in old Swedish) with the help of the nutritionists and designers at a specialist manufacturing partner near London.

In 2016, a uni ue opportunity arose to ac uire a bar in the centre of St Ives, and together with their dad, Tom and Sam took the plunge and signed the lease. Initially, we planned to open solely as a bar – essentially offering a drink-in selection of our range at Johns Wines, Sam explains, but market research led us to the conclusion that we needed to offer food. After much debate, we settled on fried chicken and craft beer. Beer and Bird opened its doors in April 2017 and became Cornwall’s first gourmet fried chicken restaurant and craft beer bar.

Having experienced such success, the dynamic brothers are only too aware of the responsibility that comes along with it. Ultimately, we’d like to contribute to the growing Cornish economy and support the development of young people looking to progress, ventures Sam. We feel there is a definite need for year-round obs in the county and if our enterprises can help achieve this, we would be delighted.”

I think the purpose of any good business is to move things forward, adds Tom. There’s a collection of young, exciting businesses coming up in Cornwall at the moment; businesses that have the potential to change the county for the better. If we can be a part of that movement

Sam and Tom had no intention of stopping there, and with the arrival of the pandemic they saw their chance to expand their horizons even further, as Tom kindly elaborates Crusty

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A B OV E Crusty Juggler Black Spiced Rum

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A B OV E Thriving with Trivas

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I N SPI R AT I O N

suffering with digestive health issues in the U today. With a freight train of momentum behind them, Sam gives us an insight into their future plans Over the next five years, our aim is to refine our existing businesses and grow organically. This means focusing on Cornwall initially and building our businesses to a point that they can be replicated further afield.

Although Cornwall will always be our home, the prospect of expanding to serve the wider U market is a very exciting thought indeed!”

and help initiate a positive change in our community, we will have achieved our goal.”

While Sam and Tom are at the top of their game today, the road hasn’t always been an easy one to travel, as Tom knows only too well If there is one thing I have learnt about business, it’s that there are always problems along the way.

In fact, I’d go as far as to say that problems are welcome because you simply cannot progress without them. Opening Beer and Bird was perhaps the biggest challenge we have ever faced, as it was something we had never done before. There were so many logistical challenges to overcome – from costing, to sta ng, to menu creation – and the only real strategy we had was trial and error. It was a steep learning curve, but with perseverance and adaptability, we got there in the end Sam adds Consistently our biggest challenge has been sta ng. In Cornwall (and particularly in St Ives) there is a real shortage of uality hospitality staff and the pandemic has only made things worse. The only thing you can do is to pay well and create a decent work environment that makes people feel valued and included. But even so, there have been times over the past year when we’ve had to close due to a lack of staff.

With entrepreneurial blood running through their veins, and an ever-evolving vision for the future, the Hanson brothers’ success is of no real surprise, but I do wonder exactly what it is that works so well for the pair, on which Tom cares to venture an answer ortunately, we have a very good relationship. We were close growing up and this has continued into adulthood. This is not to say that we don’t have differences of opinion, but generally speaking we come to a decision that we’re both happy with.”

We’re both uite different in terms of personality, adds Sam, but I actually think this makes us stronger from a business perspective.

Tom is a bit more cautious and pragmatic, whereas I’m more inclined to take risks. If you had one of us without the other, I don’t think we’d be anywhere near as successful as we are.” The future certainly looks like a bright one for Sam and Tom, who have proved an inspiration for Cornish business owners and entrepreneurs.

Harnessing each other’s strengths has proven to be a hugely effective techni ue, and now I simply couldn’t imagine one without the other.

So, what does the future look like for these dymanic brothers and their myriad of ourishing businesses In regards to Johns Wines and Beer and Bird, Tom says, we’d like to expand to the point where we have several outlets in Cornwall, and maybe some further afield. When it comes to Crusty Juggler, we want to become the iconic spiced rum of Cornwall.

It’s an ambitious target, but one we feel we can achieve given the great response we’ve had so far. Trivas is still very much in its infancy but I’d love to grow it into a nationally recognised brand and hopefully make a real difference to people

johnswines.co.uk beerandbird.com crustyjuggler.com trivas.co.uk

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Time to make a change

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20/01/2022 16:31

Wild about the WINE

John Hersey

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

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QU E N C H

Delving deeper into the wonderful world of wine, with an education opportunity for oenophiles that escapes the everyday.

B

Debbie studied marine biology and oceanography at Plymouth University and has always been interested in the environment.

Growing up in London, weekends and family holidays were spent at the seaside or camping which generated Debbie’s love of the great outdoors. “I realised after finishing university that I didn’t want to be an academic and had fallen in love with the West Country, so I applied for a job at Jamie Oliver’s ifteen at Watergate Bay. They took me on, and when someone dropped out of a WSET level two course at the last minute, I took their place and found that I had a real a nity with wine. I went on to study my level three and diploma. After leaving ifteen I went on to be a consultant Lewis Harrison-Pinder

ased in Cornwall, Wild Wine School was set up in 2019 after owner and sommelier Debbie Warner identified a need for both bespoke training for the trade as well as personal courses for the modern drinker with a desire to be more informed when it comes to wine. Her Wild Wine Club, which was started some four years earlier, brought together like-minded individuals for outdoor feasting, with wine of course, and hosted some of Cornwall’s finest guest chefs including Adam Banks, Emily Scott and St Ives-based private chef, Natasha Osborne. It was while sharing a bottle at these these outdoor adventures that Debbie realised her guests were wine-curious and eager to learn more.

INSET ‘Wines of the Garrigue’ Wild Wine Club Supper, Port Eliot Estate

PREVIOUS & RIGHT Wild Wine Club at Mawgan Porth beach

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Lewis Harrison-Pinder

Lewis Harrison-Pinder Lewis Harrison-Pinder

TOP Debbie at Port Eliot Estate

A B OV E ‘English Wine’ Wild Wine Club Supper, Boconnoc Estate

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QU E N C H

Pre-covid, Debbie’s classroom was at the ancient Nancarrow Farm, and then the course had to be reimagined for pandemic times, with lectures being held over Zoom.

Now that restrictions are easing, 2022 courses are now available, hosted by the likes of Trevibban Mill near Padstow and Knightor Winery near St Austell. The Wild Wine School is an accredited program provider for the WSET and their latest offering, A Modern Introduction to Wine is an eight-week online course created by Debbie and her team. Each week explores a new subject, paired with a carefully selected bottle of wine: “This course is for people who are curious to know the stories behind the wines they drink, and are fascinated by the processes involved in how wine is made,” explains Debbie.

and am now an educator,” adds Debbie. “I have recently started studying a soil science course, covering regenerative farming and have spent a lot of time travelling predominantly across Europe, visiting the vineyards of Italy, Spain, Portugal and France.”

With a focus on sustainable and regenerative viniculture, Debbie has developed a unique set of courses designed to delve deeper into the world of wine, introducing people to contemporary topics: “The Wild Wine School provides wine education with a sustainable focus, as well as training for top hospitality businesses such as The Pig Hotels, Ducksoup, and Nancarrow Farm.

From in-depth WSET (Wine and Spirit Education Trust) accredited courses, to workshops, and Wild Wine Club banquets served under stars, it brings people away from their desks and out into the great outdoors. The WSET level one accredited course, while a base level, is a real confidence builder giving students the foundation knowledge they need to progress. Level two is where we really start to delve into wine, learning about different regions and grape varieties, while level three is where we start to get very specialist.”

“We shine a spotlight on modern themes such as organic and biodynamic viticulture, natural wines, the booming English wine scene, and discover stories about captivating wine regions around the world. We’ll also discuss the basics of winemaking and the main grape varieties, as well as popping some corks on sparkling wine week, and understanding more about food pairings.

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Lewis Harrison-Pinder Lewis Harrison-Pinder

LEFT An artisan cider tasting tour and lunch at Find & Foster

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A B OV E “An Introduction To Cornish Wines”, Nancarrow Farm

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QU E N C H

“The course is for mixed abilities, and as a class we’ll work together to ensure everyone gets the most out of the experience. Those joining with prior knowledge will have the opportunity to share, inform and exchange views, and those just starting out will bring fresh energy, ideas, and taste buds.” The course evolves with the seasons to re ect the time of year, connecting students with what they are drinking, how it is grown, created and even how it makes it to our table.

Thursday evenings on the course see virtual wine tastings led by Debbie, and students can expect guest appearances from industry experts including winemakers, merchants and sommeliers – these include Ruth Spivey, wine writer and founder of Wine Car Boot, Ben Walgate, co-founder and owner of Tillingham Wines, and Tommy Grimshaw, Head Winemaker at Langham Winery. With all of the Zoom sessions being recorded, participants have the option to join live for a fun, interactive evening, or gain access to the content each week in their own time.

“For those who prefer to dip into a shorter course, 2022 sees the launch of two new ones; An Introduction To Wild Wines, which is a one-day course, and A Knowledge Of Wild Wines, a two-day course. Both are aimed at the trade and bring together all the wider specialist knowledge that is not covered by the WSET courses. Debbie says: “they are perfect for both industry professionals and wine enthusiasts and cover organic and biodynamic wines, natural winemaking (or what makes a natural wine), and sustainability in the wine industry. So, thinking beyond the wineries and the vineyards. We also look at transportation and alternative packaging, both of which have a huge impact in terms of carbon footprint. You’ll learn how to taste and describe wine, how environmental factors, grape-growing, winemaking and maturation options in uence the style and quality of wine. And best of all, you’ll get to taste lots of delicious, interesting and thought-provoking wines.”

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ETHICA diamonds C O R N W A L L

K I N D

A W A R D W I N N I N G N O T M I N E D J E W E L L E R Y

CORNWALL'S SUPPLIER OF LAB-GROWN STONES AND CARBON NEUTRAL LAB-GROWN DIAMOND JEWELLERY

01872 222248

www.ethicadiamonds.co.uk

Suite One, Mansion House, Prince's Street, Truro, TR1 2RF

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QU E N C H

“We set out to inspire and educate through workshops, courses and events that err on the wild side. Calling on nature to add a technicolour edge to your experience we like to share our wine knowledge and passion in surroundings that enliven senses and expand minds,” explains Debbie. “With a focus on sustainable viticulture, we believe exploring what’s in our wine glasses shouldn’t be confined to a desk. It’s why we’re taking it back to where it all started, the great outdoors; the vineyards of Cornwall are our home.”

There is a week-long residential course coming in the autumn which will be a level three course, held at the incredible Knightor’s Seaton vineyard. An intensive and indepth course will see students stay in the beautiful old manor house with its private pool, and experience a mix of teaching in the day and lectures in the evening, alongside some incredible food and obviously some very fine wine. Workshop topics include organic and biodynamic viticulture, minimal intervention wine making and an introduction to Cornish wines to name but a few. Debbie also collaborates with Find & Foster, a cider maker adopting a similar approach to making cider as a vinter would, who also align with Debbie’s sustainable principles as they foster forgotten orchards in Devon in exchange for

apples. Debbie and her team live and breathe hospitality, regularly hosting industry events and masterclasses, while bringing some of their favourite wine makers to Cornwall to share stories, insight and a glass or two of the good stuff wildwineschool.co.uk wildwineschool

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The Hampton Cast Iron bed with the Fowey bench

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The meaning of a MOMENT WORDS BY ROSIE CATTRELL

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C R E AT E

Taking time to recognise joy in the simple everyday and nd alance in t e asics t at many of us ave left e ind.

I

Dutch, and born and raised on the small island of Sint Maarten in the Caribbean, Michele Ferron found a whole new world on the coast of Cornwall ust as she welcomed her first daughter into the world over 11 years ago: “I remember the first time I came to Cornwall; it was summer, and I couldn’t believe how cold it was. Coming from a Caribbean island, I didn’t understand what the fuss was about, why so many British people were saying how amazing Cornwall was. Fast forward to now, and I absolutely love it here. I love the nature, the beauty, the people. It really feels like home. I love the ocean.

It’s so different to the ocean I grew up with, but after walking alongside it for 20 minutes or so, all of a sudden my brain shifts into a different mode from busy, hectic life; it’s all gone and you get that feeling of freedom that seems to disappear when we’re not paying attention. I think people who move to Cornwall move here for a lifestyle choice, and that really shines through with the way people go about their lives here.”

n the chaos that comes with work, family and day-to-day life, there are always things to be remembered, tasks to be completed, time to be managed, appointments to be made. For many of us, we find order in organisation, and the modern world has been accompanied by advances in technology that mean we can carry a constant companion to remind us of our schedule with notifications and alarms, a place to keep the week’s shopping list and the mental note of the friend’s birthday that you forgot last year. However, as the pace of life picks up and the world seems to turn a little faster every day, it’s the small moments of quiet indulgence that can put it all back into perspective.

There is something about the physical act of pressing pen to paper that brings with it a feeling of calm nostalgia as I carefully fill my fresh 2022 calendar with birthdays, appointments and celebrations for the year ahead. As someone who has always been drawn to a beautiful calendar to hang on a wall and admire, and prefers a paper shopping list scrawled with the items missing from my kitchen cupboards to carry around the supermarket with me, Once Upon a Tuesday offers a welcome refreshment to the noise of the 21st century.

Welcoming a new pace and a more mindful way of life that is often found on Cornish shores, Michele’s search for beauty and function planted the seed of an idea for her next business venture, as she so kindly

INSET Michele Ferron

PREVIOUS Making dates to keep

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TOP Finding time to honour friendships

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birthday calendars, and then I popped them online and I sold seven the next day, which was a bit of a surprise. I thought, okay, I’ll do some more, and it really took off from there I think it was a time where everything was happening online. We were all spending all day at home behind a screen, and platforms like Etsy really blew up during that lockdown, I was sort of just there at the right time for the ride.

“I never saw myself as a creative. I always thought of myself as more of a serious ‘business person’. My father had grown this incredible business and I always thought I would follow in his footsteps, so I did a degree in Commercial Economics. My creative side was always something that helped with that, but I never gave myself permission to be a creative, I never thought that was something that I had access to or thought was the right path for me. However, the other day my mum pulled out a whole bunch of calendars that I made as a child, which is just really funny.

Every year I would make people calendars and cut out pictures and make drawings and things like that. I’ve always had that creativity and I feel like now it’s all come together, the love for creativity and business. It’s incredibly exciting.”

explains: “I’ve started quite a few businesses over the years, mainly in the field of marketing, and they’ve always come with lots of planning and thinking about how we were going to do it. Once Upon a Tuesday came without any sort of plan. In Holland, they have these things called birthday calendars, which you keep year after year. Traditionally, they are hung up in the bathroom, so in every house in Holland there is a birthday calendar hanging in the loo, and you just keep adding birthdays to it as you make new acquaintances and welcome new family members. Anyway, I was looking for one when I was in Holland and I ust couldn’t find one that I liked, and this was mid-pandemic lockdown. At the time I was just getting my head around Adobe, so I thought, I’ll design one and just print a couple. So that’s what I did.”

From wall organisers and birthday calendars to brighten up your home, to 2022 calendars and even 12-month co-parenting family planners for kids with two homes who like to know what the plan is, Once Upon a Tuesday has thought of it all. As a mother of three to Jules, Flora, and now seven-month-old Otis, Michele actually began her most recent venture while pregnant, and is an expert on the most useful tools for her family’s time management. “I really love the idea of practical stationery, things that you actually use and that are helpful to productivity,” she goes on to explain. “I design everything

After spotting a gap in the market and deciding to fill it with the sort of design and functionality she’d been looking for, Michele realised that she hadn’t been the only one looking for fresh, practical designs that not only made for beautiful additions to a home interior, but were also genuinely useful on a day-to-day basis. “I designed and printed ten

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Idenna Creative

TOP LEFT Celebration Calendar

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TOP RIGHT Weekly Planner Notepad

A B OV E Fresh, modern designs

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creative and to focus on this business. We’re quite social people and usually have quite a lot going on, but we found ourselves home every day to pack orders and take them to the post o ce, and that kind of consistent and reliable approach really helped us. No commute, no social life, just the children and the business.

I lost most of my clients in the job I was doing back then, so I had nothing but time to focus on this. My partner Angus has recently joined the team o cially, but he really has been instrumental to the business so far.”

in a way that I would use it myself by going through the process of actually using the product. Colours are really important to me and designs often come to me in the moment.

I like to start with a palette and combine unexpected colours to get an aesthetic that I enjoy. In my designs there’s a lot of tropical inspiration, a lot of nature. I like to think of it as fresh and modern with a slightly bohemian feel. I know most artists have a style that they apply to all the items that they design, but I love the depth and variety that comes with specialising in calendars and planners, and I like to think that everyone can find something they like in my collection, across ages, cities and genders.”

Printing on recycled paper, using recycled packaging, sourcing supplies from small, local businesses, and with the printers just down the road, Michele is mindful about her practises as part of a strong Cornish community, and our strange little patch of paradise seems to have impressed its mark on company operations: “Cornwall has been a huge inspiration for me over the years. I love that there are so many small brands that are actually very successful in Cornwall, and that they do it differently. It’s not just about the money. We don’t need to own lots of things, there’s only so much that I need in my life. I want to create products that can be of some good to the people who use them at the same time as supporting the community around me.

One of the most charming and unusual aspects of Michele’s wonderful business is the very name itself, and I couldn’t help but ask after its origin, on which she happily elaborates: “Actually, we were talking about storytelling at home, both my girls love reading and writing stories. We were wondering why stories start with ‘once upon a time’, and Flora said, ‘Well, why don’t they start with once upon a Tuesday?’ She’s got this incredible creative mind, and it’s because of her that the name came about. After all, calendars are all about dates, so why not a Tuesday?” With family at the heart of this enchanting business, it’s no wonder that Michele’s products seem to fit so well into the lives of her customers who have sought out her designs from around the UK, and even internationally.

“Once Upon a Tuesday started on a quest to take a step back, rely less on technology, take control of our day to day, honour our friendships and celebrate more We need to find ways to escape the everyday rat race that we all get caught up in, and find moments we can treasure with the people around us. The first step Make a date, uncover a birthday, and write it down in a beautiful calendar that you simply won’t be able to overlook.”

While no one seems to have escaped the immense challenges that the pandemic imposed around the globe, for Michele it came with a silver lining that gave her the most vital component of all for her new-found venture.

Time. “As hard a time as this has been, it’s also a time that gave me permission to finally be

onceuponatuesday.co.uk

LEFT So you’ll always remember

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NAU T I C A L

FINDING freedom

eautifully and-crafted and carefully maintained, the Martha Primrose promises a luxury lifestyle like no other.

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ith an overall feel and appearance of a shining classic beauty which would be as elegant in a classic wooden yacht regatta in Cowes or Antiqua as swinging at anchor in the quiet reaches of a secluded river, the Martha Primrose is the definition of freedom. Strong, fast and sea worthy, she has accommodation of seven berths and makes for a perfect blue-water sailing yacht, easy to manage short-handed or as a couple.

Designed and hand-crafted by the renowned shipwright, Ashley Butler of Butler & Co, Martha Primrose has been traditionally constructed using English oak, Douglas fir and Iroko with copper fastenings and bronze fittings throughout. The wonderfully spacious swept laid deck and stunning cherry interior make for a charming, homely escape while standing strong in the worst of the weather. After proving herself on a trip to the Beleric Islands back in 2015, the vessel is in wonderful condition after a refit in 2021, and is now on the market for the first time since her original construction for 299,000.

Today, Martha Primrose lies in wait on the Helford River, ready for her next adventure with a new owner.

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P RO P E RT Y

SEASIDE bliss

An exquisite Edwardian villa o ering outi ue living just a few moments from yllyngvase eac .

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aving been the subject of a recent, comprehensive renovation, Kinbrae House was originally built in 1904 as a lavish private residence to accommodate family life by the sea. Today, the property is arranged as five luxurious one-bedroom holiday apartments, accompanied by stunning ocean views and the sense of calm and wellbeing that comes with fresh Cornish sea air.

Situated on the ground oor, the apartments Cornish Chough and Curlew each offer an open-plan living space, complete with ornate cornicing, plus stylish bathrooms and elegant bedrooms that welcome glimpses of the not-sodistant ocean. On the first oor, Oyster Catcher, Sanderling, and the studio named Pu n also boast a relaxed, open-plan style, with a spacious attic room above with far-reaching sea views for staff or owners. Whether maintained as an excellent source of income, or remodelled into a family home as it once was, Kinbrae House presents a sensational investment opportunity.

KINBRAE HOUSE Offers over £1.25M SHORE PARTNERSHIP 01872 484484 contact@shorepartnerhsip.com

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QUIETLY idyllic

A beautifully renovated Grade II listed former vicarage presented to the most exacting standards throughout.

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ust 600 metres from the rugged Cornish cliffs, and nestled within a sheltered valley on the outskirts of Tintagel, you’ll find a wonderfully rare and beautiful property; The Old icarage. In a uiet and idyllic location, set within partly wooded grounds and pictures ue gardens, this architecturally impressive house offers a fully renovated interior, high ceilings, spacious rooms and a fantastic location, among countless other stunning features.

With four en-suite bedrooms, a sitting room, dining room, bespoke fitted kitchen and a garden room conservatory, the house makes for a fantasy family home, and the three-bedroom attached cottage allows for a fabulous income opportunity. The Grade II listed dovecote, gate house with chapel and the long private drive really add to the charming character of The Old icarage, a wonderful world all its own.

THE OLD VICARAGE Offers over: £1.65M ROHRS & ROWE 01872 306360 info@rohrsandrowe.co.uk

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LIVING zero

it nature ouris ing all around, ilva ardens promises a tran uil aven for its future residents.

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aking inspiration from the Latin term for woodland, Silva Gardens offers a bright new opportunity for a vibrant community with a stunning new collection of Zero Carbon Smart HomesTM. In a fusion of modern design and cutting-edge technology, each of Silva Gardens’ carefully designed homes offers a practically seamless zerocarbon lifestyle.

Each home is designed to draw you in through a large hallway into an open-plan custom kitchen and dining area, through to bi-fold or double doors that open out from your luxurious living room onto your private garden. The vaulted ceilings introduce a wonderful sense of light and space, with natural light streaming in through full-length windows, and the spacious double bedrooms offer a welcome retreat from daily life, with luxurious bathrooms close by for ease and comfort. With a range of oor plans to choose from, you’re sure to find the home you’ve been dreaming of at Silva Gardens.

SILVA GARDENS Guide price: £POA SAVILLS CORNWALL 73 Lemon Street, Truro TR1 2PN 01872 243200 cornwall@savills.com

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P RO P E RT Y

PRETTY prosperity

An enchanting 17th century watermill set on the edge of the quaint village of Ladock.

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ith a past rich in Cornish heritage, Bissick Old Mill has been converted to a very high standard, and currently operates as an award-winning guest house, which comes as no surprise.

Retaining many period features, and with beautifully impressive local stone elevations dotted with charming small-paned windows, the property is wonderfully versatile and would easily make for a very large family home for those not wanting to run a business.

Walk through the spacious hallway, the sitting room complete with a warming woodburner, the dining room and kitchen on the ground oor, and up to the three guest bedrooms on the first oor, each with private facilities and the potential for a fourth room. With direct access to the rear garden, the four-bedroom owner’s accommodation resides on the second oor alongside a sitting room, a kitchen and dining room, a lounge and a luxurious shower room, and to round it all off is the one-bedroom holiday cottage known as The Granary, a beautiful addition to an already prosperous property.

BISSICK OLD MILL Guide price: £675,000 PHILIP MARTIN 01872 242244 Sales@philip-martin.co.uk

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P RO P E RT Y

ANYTHING but ordinary

An art lover’s dream, a surfer’s paradise, a family’s haven.

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ucked away in a peaceful residential corner, Tessello Rise is private yet within easy reach of everything that beautiful Carbis Bay and St Ives have to offer. Accessed via a no-through road, you benefit from a secluded home in a soughtafter location. Working in complete harmony with its surroundings, the developments’ carefully designed ero Carbon Smart HomesTM define the highest e ciency and sustainability standards.

A fusion of modern design and leading technology, a home at Tessello Rise makes your move to a zero carbon lifestyle practically seamless. As you live, your home learns. It adapts to your daily routine, so every joule of energy is used to its fullest – the very essence of what it means to live zero. With a range of four and five bedroom homes available, all with private gardens, garaging and panoramic countryside or ocean views, there is something for everyone at Tessello Rise. These really are the homes of the future, built today.

TESSELLO RISE Guide price: £POA SAVILLS CORNWALL 73 Lemon Street, Truro TR1 2PN 01872 243200 cornwall@savills.com

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P RO P E RT Y

CONTEMPORARY haven A stunning, modern family home in a wonderful, rural location.

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urrounded by Cornish countryside and farmland, Shirspen was recently extended and even comes with the option to purchase land with stabling – ideal for those hoping to enjoy the surrounding rurality on horseback.

The enclosed, south-facing garden with its extensive decking running the full width of the house, is perfect for entertaining – the ideal space for barbeque enthusiasts and, indeed, anybody who likes to soak up the summer sun.

Heading inside and you’ll find four bedrooms split across the ground and first oor, including a fabulous master suite upstairs. Downstairs, you’ll quickly make yourself at home within the large open-plan kitchen, dining and living space, fully fitted with luxe units and appliances, as well as a cosy log-burner. An integral garage on the south side provides handy, plentiful storage space, however any hobbyist will find delight in turning it into a workshop.

However you intend to use the space on offer here, the entire home has been brought to life and finished with the luxury lifestyle in mind, and for a family, it represents the perfect space in which to grow.

SHIRSPEN Guide price: £675,000 DAVID BALL LUXURY COLLECTION 01637 850850 sales@dba.estate

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CHARACTER and country

A charming detached thatched cottage steeped in local history and nestled in the pretty hamlet of Trevilla.

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ot too far from the head of Pill Creek and the waterside village of Feock, long regarded as one of the most soughtafter locations in south Cornwall, lies the charming hamlet of Trevilla, home to one of the most impressive properties to come onto the market; Vine Cottage.

With no certain age for the original part of the present building, which could date back hundreds of years, Vine Cottage presents an imposing and majestic thatched home, surrounded by the stunning gardens that embrace the property.

The main living spaces laid out across the ground oor include a large sitting and dining room complete with a wood-burning stove, a study with an inglenook fireplace and access to the garden, and a charming fitted kitchen and breakfast room. The large galleried landing on the first oor leads to a superb triple-aspect reception room with a vaulted ceiling, and three spacious bedrooms, each boasting exposed beams and individual character and charm.

VINE COTTAGE Guide price: £995,000 JONATHAN CUNLIFFE 01326 617447 office@jonathancunliffe.co.uk

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A point of

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

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C R E AT E

A progressive art gallery in the heart of Cornwall, where curation meets authenticity.

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ornwall is famed for its plethora of galleries, but there is one that is taking something of a different approach. Tregony Gallery, found in the heart of the village was taken over seven years ago by Brian and Judi Green.

With backgrounds in design and advertising they set up their own design consultancy, The Green House, in the early 80s working with such prestigious brands as Disney, Debenhams and Marks & Spencer to name just a few, before holding positions as Design Director and Creative Director respectively at an international branding company. Judi went on to be Creative Director at the publishing house Dorling Kindersley, before taking the brave decision in 2001 to relinquish her corporate career to focus on her own painting, with a scholarship to study for a full time MA at the Royal Drawing School in Shoreditch.

“We made a decision to move down to Cornwall 17 years ago,” says Judi. “At the time, there wasn’t a plan to open the gallery. In the early years, I was represented by several galleries in London and the West Country and so when the opportunity came up to take over the gallery, it just seemed like a fantastic idea as with my working background it meant that I knew a lot of artists, worked with a lot of artists, and had been taught by a lot of artists.

“We approached many people we knew to begin with and then, as our reputation grew, we were inundated with artists that wanted to show with us. I know what it’s like reaching out to galleries or institutions when you don’t get a response, it can be disheartening.

We try to answer every enquiry we receive.

If we can’t represent an artist because we’re oversubscribed in terms of the numbers we are able represent at one time, we will try and

LEFT Mark Dunford - ‘Long Summer Rose’

A B OV E Brian and Judi Green

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steer them in the direction of a gallery that we think might be right for them – we are always as supportive as possible.

“There is a language now that’s developing in our gallery, a style of work, and therefore it is attracting like-minded artists who very much want to be in the gallery amongst other artists that they respect and revere.

It’s become very exciting because we’re representing artists that we have admired for some time, before we ever thought about having a gallery. A fair proportion of artists are based in the West Country but we also have an international range of artists on the roster now.”

Visitors to Tregony Gallery may be surprised at the quality and the range of work that is exhibited in what is a relatively small space and that is very much down to the careful and considered approach that Brian and Judi take to the artists they choose. For them, running the gallery has always been about being a partner in the gallery/artist relationship and they invest in each artist for the long term. Judi goes on to explain: “I think what makes it work is our personal taste. There’s nothing in the gallery that we wouldn’t have in our own home, and that’s the number one criterion. Our background in design and advertising certainly helps in terms of art direction. We have a very strong eye for what we think will work in the gallery, and it’s always a joint decision.

“In terms of deciding on artists and work, we’re very much unanimous. We’re at a place now with our collectors in that they know when they come to our gallery, there’s going to be something they’re going to like.

The heart of everything that we show in the gallery is observational painting. For a

lot of galleries, and certainly commercial galleries in London, observational painting isn’t very fashionable, they tend to look for contemporary art that is more suited to museums or art institutions. As such, the kind of art we show is much more approachable and ‘liveable with’. We also keep our artists’ work for quite a long time, which is another thing that sets us apart. Historically, an artist would be approached by a gallery and it would all be very attering; they might invite them to be in a show, which they’re in for a couple of weeks and then whatever sells, great; if not, you have to come and pick up all your work again. We operate in a completely different way in that we retain the work after an exhibition has finished, and even though we have a programme of solo exhibitions, we feel it gives the work more of a life. Some collectors, come in and have an immediate response to a piece, but a lot need to go home and think about it and we are committed to giving them that opportunity.”

A B OV E A studio visit with Sarah Lee Roberts

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TOP David Moore - ‘Calypso’

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A B OV E Illuminate – a 2021 installation

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TOP LEFT Euan McGregor - ‘Portsoy’

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A B OV E Joe Morzuch - ‘Milk Carton’

TO P R I G H T Ian Norris - ‘Snow Shower Over Grasmere’

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C R E AT E

Being in a rural village where passing footfall is low has not deterred Brian and Judi and it has become very much of a destination gallery. Their unique approach works well, and as an artist-run gallery, the emphasis is very much on the artist, whilst being uid during recent challenging times. Visitors come from far afield to view the work and, in fact, as Judi explains, “this week, we had a visit from a London-based couple who were staying in Devon and drove all the way to see a specific artist, one of our Cornish painters Mark Dunford and they bought his painting.”

The gallery’s reach is impressive, with work sold to Hong Kong, Australia, Iceland, as well as a lot of activity in America.

Another example of the couple’s nimble approach is their work with private homes: “Through a recommendation, a client rang us to say that she was interested in some of the artists we represent. We were invited to view an amazing property on the north coast where there were several areas in the house that the client wanted us to curate. We took a body of work with us which we hung in the house and, in the end, she bought nine paintings. This was a unique opportunity for a collector to be able to see what the artworks looked like in situ.”

Judi and Brian make a lot of studio visits, selecting all of the work personally, culminating in their annual London show in the early part of each year. Held during an historically quiet time of year in Cornwall, this has proved to be a real boost for both the gallery and their artists. Their approach, once again, is innovative. Depending on which London gallery they rent, Brian makes a physical model. He then scales down all the work, before it is curated and hung within the model. They then photograph

the model, before loading all the work up and driving it to London. On arrival, Judi and Brian then know exactly how the show should be hung. The London exhibition is an exciting opportunity for out-of-county collectors to see Tregony Gallery’s work first-hand – giving their artists more London exposure if they haven’t already – while bringing together London, West Country and international artists together in a very cosmopolitan environment. “This year’s exhibition, Assemble*22, will maintain the powerful creative bridge between Cornwall and the capital by introducing our impressive contemporary artists to a new audience and sharing our distinctive vision and approach to curating and collecting art,” adds Judi.

The gallery’s artists are divergent in style, but share a common awareness and sensitivity in their work that directly engages the viewer with the subject matter and the intangible in uences that lead to its creation. Brian and Judi seek to celebrate distinctive observational painting and artists who possess something

A B OV E Chandler McLellan - ‘Tama’

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A B OV E Sara Lee Roberts - ‘Fragment’

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A B OV E Tom Climent - ‘A Light Found’

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TOP Virginia Bounds - ‘Anchor Studio, Springtime Afternoon Light’

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A B OV E Dot Wade - ‘Carved’

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C R E AT E

different in the way they see and interpret the world we have abstract and figurative artists, and we have some sculptures so it’s a very interesting mix; but it does all work together.

If you’re a collector, you might have quite a lot of things that you are interested in, and the gallery shows that it can work together – you don’t have to just focus on one particular type of art.”

With regard to the artists, Mark Dunford, who lives locally, studied at the Slade School of Fine Art under the painter Euan Uglow.

Mark had his first solo exhibition at Tregony Gallery in 2021, to accompany the exhibition Brian and Judi helped Mark publish his first monograph, Mark Dunford Into The Light’. The exhibition and monograph have been a catalyst for him to really y with his work, giving him opportunities to exhibit and sell globally. In juxtaposition, abstract painter Virginia Bound’s work focusses on the rugged landscape of west Cornwall; a very interesting painter as she paints with expressive brushwork, very reminiscent of David Bomberg.

Abstract painter David Moore, has been working out of his studio in the heart of St Ives since the 1960s. “There is something about David that really appealed to us from the minute we met him. His paintings, although appearing very abstract, always start from a very specific place. Drawing back into the wet paint is an integral part of David’s process and this is evident in the wonderful textured surfaces in all his paintings.”

Dot Wade’s work is very decorative and a lot of collectors are interested in her paintings.

She paints with a sense of the great St Ives modernists and yet moves their language into her own uni ue sphere. After several years living and working in the Rocky Mountains

of America, Dot now lives on Bodmin Moor and her work is both sculptural and re ective.

Tregony Gallery is part of the Own Art scheme. Supported by the Arts Council, the scheme gives collectors access to £2,500, interest free, over ten months. It is specifically intended to encourage collectors to buy work from living British artists.

“Own Art is a scheme supported by the Arts Council Of England. It allows you to buy art and spread the payments, interest free, over ten months,” adds Brian.

Brian and Judi also offer educational support, creating the Tregony Gallery art prize in association with Truro and Penwith College. “We initially intended to award just one prize, but the students are so talented we ended up giving two! Along with a cash prize, we also gave the winners the opportunity to have their work in the gallery, right through the summer, alongside some of our amazing artists. We then continue to give them mentoring support and advice, with the opportunity to show back with us in the future.”

The roster of over 30 artists at Tregony Gallery represents a diverse range of work that includes painting, ceramics, sculpture and printmaking and the gallery expertly showcases their individual approaches and energies.

Winter opening hours at Tregony Gallery, 58 Fore Street, Tregony TR2 5RW are Thursday to Saturday, 11am to 4pm.

Tregony Gallery Presents Assemble*22 at 230 Portobello Road, Notting Hill, London W11 1LJ from 8th to 20th February 2022. tregonygallery.co.uk

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For

theof love

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

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QU E N C H

avour packed line-up of eers is making ig waves in t e craft rewing industry.

B

ased in St Agnes, Pipeline Brewing Co crafts an ever-changing line-up of vibrant, hoppy, uicy beers using fresh ingredients combined with Cornish water, and is set to have you grabbing your pint glass rather than your surf board to sample what’s in their barrel Jonny Cooper, chief brewer and owner, wants his beers to satisfy, enthuse and be en oyed by drinkers near and far. Proudly showcasing the best of New World hops, his varied beers range from IPAs and farmhouse ales through to a luscious dark stout.

Jonny explains Brewing in small batches frees us to experiment with the blend of ingredients, carefully select fresh hops, yeasts and malts to then add to soft Cornish water. The result is exciting and uni ue beers that are full of avour.

The star of Pipeline’s brewing is certainly the eclectic mix of hops they use. Hops were once considered a drab ingredient, tossed in mainly to preserve the beer thanks to the antibacterial properties of the resins found in hop owers. Today, hops is the buzz word and hero ingredient in the world of craft beer.

At Pipeline, hops offer versatility to the beer and enable Jonny to dream up almost any avours and bring them to life – invoking tropical fruits, fragrant owers, herbal tones and more. Jonny en oys pushing hops to their limits and tries to use the freshest available.

He often releases beers to coincide with particular hop harvests.

Nelson Sauvin from New ealand is an example of this; one of his most popular beers, All Eyes On ou, is drenched in this New World hop.

INSET Johnny Cooper

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QU E N C H

The silver lining to Pipeline’s line-up is that they are vegan. The base ingredients for many beers of barley, malt, hops and yeast are a good vegan-friendly start. However, when it comes to clarifying the end product before bottling, kegging or canning, some brewers use animal-derived fining products like gelatine or isinglass (a type of fish-based gelatine product) to refine their brews.

Pipeline don’t use these products, hence why their beer is often cloudy, but always vegan-friendly.

So, how did Jonny enter the world of brewing He has always had an eye for detail and crafted things; he studied engineering at university and was a builder in his previous career. What started as a hobby in 2012 in the garden shed, has now grown into an ever-expanding business. Spurred on by a constant stream of positive feedback and demand, Jonny decided to put all his focus, drive and passion for beer into starting a brewery – and as such Pipeline mashed its first ever commercial brew at the beginning of 2020.

Good beer has always been a passion of mine so taking a leap into the world of craft brewing felt very exciting. My excitement waned slightly in the dawn of the pandemic but we needn’t have worried. As people stayed at home more, the demand for our cans increased as people wanted to try something different from the comfort of their sofa Over a year on since that first commercial brew, Pipeline has more than established itself within the craft beer industry resulting in demand growing rapidly. To date, they have brewed more than 100 batches of beer (that’s over 100,000 pints), released 48 beers in 12 months, and supplied bottle shops, bars and customers all over the U This is no mean feat, given that Pipeline has mostly been operating through various stages of lockdowns.

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A B OV E The Pipeline brewery

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TOP The hops are the star of all Pipeline beers

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QU E N C H

If you have yet to sample a Pipeline brew then there are a few ways to get your hands on a pint; direct orders to your door, a visit to the Taproom in St Agnes to grab some takeaway cans or sit in with freshly poured beer, or hope that your local specialty bottle shop has been able to get hold of some.

The St Agnes Taproom, tucked away in the corner of the Great Western Railway ard, is open every riday through winter and adds Saturday to the opening hours during the summer months. The cosy log burner’s ickering ames add to the warm winter welcome you will receive and as the summer months emerge, so do the outdoor tables and benches in the sun-drenched brewery yard, with lights strung overhead for after sunset.

After sampling a few of Jonny’s latest brews you may feel a little peckish – they have that covered in the form of local artisan pizzas from Cornish Pizza Company. All you have to do is choose your pizza (easier said than done ), choose your collection time and then one of the Pipeline team will pop down the hill and bring it back to the Taproom for

you. In case that’s not reason enough, dogs are welcome too. Resident hound, Dodge, will happily greet any four-legged friends that wish to oin him for lots of fuss and occasional treats.

With regular drinkers at the Taproom and a constant ow of orders in Pipeline’s inbox, demand for the vibrant brews is outstripping what they can supply. A muchneeded expansion is on the horizon to help streamline the brewing process, double their capacity and take them to the next level To see Pipeline become part of the local community and y the ag for Cornwall further afield is a real honour. It is clear that people care about the uality of their beer and as the word spreads, we can’t make enough of it to meet the growing demand.

We have grand plans to expand our offering with a helping hand from our crowdfunding campaign, due to launch in mid- ebruary.

Hopefully it’s successful and we can raise many more pints of Pipeline in the future concludes Johnny pipeline rewco pipeline rewing.co.uk

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The stillness

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

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C R E AT E

Where a dimension of consciousness beyond words takes form in clay and colour.

C

Elle Parsons

eramicist Jake Boex is Cornish, born and bred. His parents are both artists and makers themselves, and with such a heritage it seems apt that his studio can be found at the heart of one of Cornwall’s most uintessential fishing villages, Porthleven. He cites a school teacher, David Armistead, who was both a potter and a family friend as being his initial inspiration, and Jake’s still in possession of the first cup he ever made under his tutelage. “I was fortunate to be able to study for my A-levels while spending all my free periods doing ceramics – I just sort of learned the ropes from him.”

“I studied ceramics at college in Penzance,” explains Jake, “and during this period, I met and explored the work of Waistel Cooper, one of the leading ceramicists of the 20th century, which had a real impact on my view of what ceramics could actually be. Previously I’d thought that they were just functional and utilitarian items that happened to be made from clay.

Subsequently my ceramics became materials of the Earth that could convey a sense of stillness seen in the natural environment. Waistel was inspired by the open expanse and raw elements of Iceland, which I later got to experience.”

LEFT Bedrock Beneath, porcelain bowl

INSET Jake Boex outisde his studio

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I ask Jake whether he sees himself as a ceramicist or a potter, as both seem to fall within his vernacular. “Some days I call myself a potter and then others I refer to myself as a ceramicist. I guess, it depends on how ‘artsy’ I’m feeling is the real answer.

If you identify with your work as being functional, then you’re a potter. If it’s more about the sculptural element, I think you’re probably more a ceramicist. I identify with both aspects.

“Rather than there being a con ict or having a split view about what I’m doing, I actually really enjoy both ends of the spectrum. A cup is probably one of the earliest of human creations and that spans right through to some of the highest sculptural work.

For me, having the two in the scope of what I do is kind of cool, because one supports the other.

If I’m working on a more detailed sculptural piece, ideas can come out of that and translate across to a cup, and actually, why can’t art be

for everyday use? Part of the attraction of Jake’s pieces is in the handmade detailing that makes each unique. It is much more than their simple functionality – they bring a dimension, a human quality, with which we can connect.

Jake’s studio is located ust off the high street, where he has the latest kilns which allow him fantastic control in the firing process. I would say that my inclination or trade mark perhaps is the sea; I live by and find inspiration in it, as did the fishermen that first used my former net loft studio.

I harvest the sea for inspiration and find ideas that people connect with and often like to take home as a reminder of their time in Cornwall.

“I have always enjoyed the wonder of the natural environment, as a walk in the country from my parent’s house as a child or later surfing on Cornwall’s wild coast. Ceramics offer a way to use natural materials to create objects that resonate with the experience of

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A B OV E Bedrock Budvase

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A B OV E Horizon cups

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A B OV E

See shells and Climate Change

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TOP Cosmic cups

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A B OV E Lost at sea

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C R E AT E

nature whilst also providing a functional role.

My surroundings provide my inspiration; there is a depth when we really look and I try to convey something of this in my work.”

For Jake, the making is quite intuitive, with one thing leading to another I often find that ideas are born of a combination of thoughts and the space between thoughts; then a shape may appear and often a framework or narrative in some way that provides an additional dimension. I mainly work with porcelain which achieves a pure white surface, that nicely supports a wide range of colours. This is important as colour plays a big role in my work. Ceramics are both functional and decorative and so the possibility to bring colour into a living space with a ceramic piece is exciting. I like the colours at sun rise and sunset for example and so incorporate a lot of primary pastel colours in my work. In response to the changing depth of sea blue, I

see out here when swimming in winter, I have a new deep blue glaze that I am excited to be using in the year ahead.”

One of Jake’s recent larger ceramic installations projects was See shells and Climate Change; a collaborative project with the University of Exeter exploring our emotional reaction to climate change. One thousand porcelain bowls acted as data points showing the changing temperatures of the North Atlantic Ocean over the last millennium.

Each bowl was marked with a specific year and coloured, red to blue, by glaze made in part from the seashells that provided the data. Laid out like a mandala, the evidence illustrated the interconnection with natural processes.

Jake has always had an interest in the natural environment and was fortunate to go on and study this at PhD level, giving him a unique appreciation for and insight into the natural world; he then tries to bring it into his work

INSET Little cup by the sea

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A B OV E Tidal cup

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C R E AT E

and the materials he uses are important, especially as clay comes from the earth.

“The pastel blues and the reds I used in See shells and Climate Change were in regards to warming and cooling, but I will say that more recently I have related to these pastel primary colours in relation to the sea, the sunrise and the sunset. I also have a resonance with the deeper blues in the spectrum, from turquoise through deeper cobalt; colour, along with texture, is as important as form.” Jake began experimenting with incorporating some of the rocks that he was using in his PhD research, both in the clay and his glazes, and continues to collect rocks from nearby cliffs that he grinds up and layers into his work.

Living by the ocean, Jake has recently found solace in sea swimming, an activity which aligns with his a nity to his natural surroundings. “Sometimes there might be a moment, morning or evening, when I’m looking out across the sea, and suddenly, it feels like I’m viewing much more than just the sea, the sky or the sunset. And that’s the bit that really interests me, and something I have tried to incorporate somehow in the work that I focus on. It’s a feeling that is central to yoga, meditation and Eastern philosophical teachings and has been a defining moment for me in that my interests have shifted with

the realisation that there’s a dimension of consciousness that goes beyond words.

“It made me question the role that art plays.

I think Western culture, is perhaps spiritually a little confused, relatively speaking compared to some of the deeper wisdom traditions that exist around the world. I think art can play a role in clarifying this, providing a portal to the dimension which is beyond words; it is something that gives us a sense of reassurance and happiness, and a reminder that that is there in all of us.”

Jake is currently working on ideas for the year ahead, including building the range of products that span the decorative and also functional ends of the spectrum. ‘I have a deep blue that sits with my ideas of ‘where the sea meets the sky’, touching on principles of stillness beyond words – ideas that are found within yoga and meditation teachings.

I like it when people find happiness in my work, sometimes I can hear people outside the studio looking into the window display enjoying recent work; this makes me happy.

I aim to convey something of the stillness of nature, if people find this through my work that is most rewarding.” jakeboexceramics.com

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SUSTA I N

Bathed

in BEAUTY

H

andcrafted in small batches, The Cove luxury bathing products take their uni ueness from their simplicity and their inspiration from the sea and its coastal surroundings. With ust three ingredients the bath salts contain simply salt, essential oils and owers, meaning they are both kind to the skin and the planet.

Driven by sustainability, The Cove’s range is small but perfectly formed, including bath milks, diffusers and li uid soaps, each fragrance named for a favourite place in Cornwall. The entire range is packaged in glass bottles designed to be replenished from sustainable, biodegradable or compostable refill pouches. thecovebathing.co.uk 1. BATH SA LTS: F ISTRA L (EUCA LY PTUS A ND LEM ONGRA SS), BEDRUTH A N (JA SM INE A ND LAVENDER), LUSTY GLA ZE (ROSE A ND Y LA NG Y LA NG) A ND WATERGATE (LAVENDER) 500G – £19

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SU STA I N

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A

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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.

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20/01/2022 16:38

On theof it

FACE

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

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C R E AT E

Sarah Ball’s extraordinary ordinary people.

E

ncountering the face of Masha for the first time in Sarah Ball’s painting, the question arises: who is Masha That reaction is perfectly natural. After all, her presence is striking.

Moreover, the picture will soon be seen in a prominent London art dealer’s gallery, itself a rare distinction. Her head with its placid features is modelled in oil on a canvas that measures over four feet in height and width.

Size often denotes importance, especially in art, which has devoted immense spaces in the past to depictions of battles, the Bible, the rich and famous. By contrast, Masha arrives without a story, ust her clear skin tones placed dramatically against a background darkening into deep greenish grey, and her head in a scarf with that elegant ring piercing her nose.

Masha is an enigma – and there is no guarantee even that her name is genuine. She might be a future star of the music business or someone seen in the street. Indeed, she could be both.

But the viewer has nothing reliable to go on except for what is seen in this young woman’s appearance. That dependence on personal

assessment is part of the fascination of this captivating image. The same goes for Ball’s intriguingly fresh approach to an ancient type of painting, for the art of portraiture is perhaps the most searching, critical and revelatory of genres. However, in the age of the camera and the instant selfie, it seldom causes a stir. This artist, however, helps endow portrait painting with its contemporary relevance.

More is known about Sarah Ball than her sub ects. Born in south orkshire, she attended art school in Wales and Bath, and has been based in west Cornwall for several years.

After working as an illustrator, she turned to painting and had the first of five one-person exhibitions in 2012 in St Ives at Anima Mundi gallery, which supported her early career and introduced her distinctive method of research and depiction to the gallery-going public. Since then, Ball’s work has been included twice in the summer exhibition at the Royal Academy of Arts in London and last year was featured in the prestigious rieze art fair in New ork.

That overseas exposure built on shows in Texas and Ireland, and now she is preparing to open

PREVIOUS Sarah Ball in her studio with Elliot’, 2020, oil on linen, 160 x 160cm. Private Collection.

Copyright Sarah Ball. Courtesy the artist and Stephen riedman Gallery, London

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A B OV E Masha’, 2021. Oil on linen, 120 x 120cm Copyright Sarah Ball. Courtesy the artist and Stephen riedman Gallery, London. Photo by Todd-White Art Photography

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A B OV E Anthony’, 2020. Oil on linen, 160 x 160cm. Private Collection.

Copyright Sarah Ball. Courtesy the artist and Stephen riedman Gallery, London. Photo by Todd-White Art Photography

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her first solo presentation at Stephen riedman Gallery in London’s West End. That progress re ects the growing critical interest in how she constructs a portrait from some unorthodox elements. Her canvases are not found in company boardrooms or lining college staircases. Indeed, Ball has never met the people in her paintings. Instead, she has trawled historical archives, the pages of magazines and the Internet to find the faces that interest her. Would, then, her sub ects be surprised to come across themselves hanging on the wall of an art gallery Until recently, the chances of that happening were very slim. The reason is that many of those people lived 50 or a 100 years ago, a fact that itself contributes to the lure of these painted likenesses. Ball selected them from o cial records, such as at the huge Ellis Island immigration centre in New ork harbour. Over 12 million migrants to the United States were processed there during the 50 years from 1892. Each new arrival was photographed and his or her details filed.

Not surprisingly the documentation was immense and supplied Ball with an entire show of paintings, called Immigrants, which

took place in St Ives in 2015. Wood panels, then not much larger than the photographs Ball researched, were prepared with a smooth surface of gesso upon which oil paint infused these heads with a luminescence that the black-and-white glass or film negatives in the archives could not capture. In these paintings, the faces ac uired colour as if Ball had not only breathed life into them but also restored their humanity, as people who once lived and dressed and walked, who travelled across an ocean in hope to escape poverty or violence, and who were picked out by o cials and, perhaps for the first time in their lives, sat waiting for a ash bulb to explode. Then they slipped back into the ow of newcomers, anonymous to history. Over time, their names and origins were lost, leaving only their features and the clothes they sat down in (often their best traditional costume) to posterity.

As the titles of her other exhibitions imply, Ball’s starting point is the labels that society applies to groups within it. or instance, she made three series of paintings called Accused (2012-14). Her source was the collection of monochrome mug shots that the US police

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made mid-last century. Ball used the same pose in each image a single head with shoulders looking forward into the camera. Many of the offenders were poor, charged with petty crimes like shoplifting and prostitution. Like the immigrants, they occupied a particular category in life from which any community is prone to draw broad assumptions about their characters and social worth. In a sense, they ac uired their identity from other people’s opinions and pre udices.

The next series, shown at Anima Mundi in 2017, highlighted one extreme development.

It was titled Bertillon after the Paris police o cer with family history in statistics who, in the 1880s, devised the techni ue of human measurement to discover whether criminals could be identified by their physical attributes – especially but not exclusively by the length and breadth of their heads. His theory was debunked decades ago but not before it had been used for years to help convict suspects in many countries on the spurious basis that their features fitted the data. It was a blunt example of primitive character profiling’.

Ball is well aware that this tendency to udge by labels is still around. In 2020, she collaborated with Anima Mundi to raise funds for the campaign against racism and ine uality experienced by people of colour after the death of George loyd in police custody in the US city of Minneapolis. Ball selected three intense

portraits featuring the head and shoulders of a black female looking straight out from a plain background at whoever was looking at her.

They were made into an edition of prints and offered for sale. The response was immediate.

As Anima Mundi’s founder Joe Clarke recalls, the entire edition sold out within 48 hours raising over 20,000 for Black Lives Matter .

This artist’s work, whether as drawings, paintings or prints, brings with it no moral schema. iewer and sub ect meet on e ual terms as strangers do; it might seem that each is sizing up the other. So an intimacy arises that is one privilege offered by an artwork. Looking at Masha again, uestions surface about how Ball nurtures the colour tones in the cheeks, and the way shadow shapes the curve of her nose, a nostril or her full lips. Her eyes have a depth and density that is immediately enlivened by the dot of external light re ected in each retina.

Then two details mark Masha out as uni ue the way she wears her headscarf and that nose piercing.

Ball activates painted imagery to explore individual identity. That uality has seldom been more negotiable and sensitive than today, and partly explains why Ball has used social media as a source since 2019. The criterion for selecting who to paint is always her interest in a face, often because its owner has chosen a style or colour of hair or a uirky body

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A B OV E Seyon’, 2021. Oil on linen, 120 x 120cm. Private Collection.

Copyright Sarah Ball. Courtesy the artist and Stephen riedman Gallery, London. Photo by Todd-White Art Photography

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C R E AT E

adornment, or strongly displays an attractive attitude. With ‘Anthony’ (2020) it might have been the tilt of his head, caught as if in the spontaneity of a Zoom call, or the chain of interlocking metal shapes that culminates in a pendant of multicoloured beads and stones that Ball records with graphic ourish.

Indeed, she projects delight in the decisions her subjects have taken to present themselves.

Ball grew up when glam rock dominated the music charts and artists like David Bowie and Siouxsie Sioux were adopting ambiguous persona that fans, and then fashion, imitated.

For some, personal style stood for rebellion against the status uo; for others it offered identification with like-minded enthusiasts; and there were plenty who simply liked the look. Into which category would ‘Michael’ (2021), with his brightly dyed crop, place himself Ball’s one-person show in 2019 in St Ives reminded visitors with her portrayals that included transgender people from the 1930s, this behaviour is not new. It echoed their desire to be themselves.

The selfie is the latest challenge by photography to the once unsurpassable hegemony of the painted portrait. One painter, when he saw the first daguerreotype 180 years ago, declared “from today, painting is dead.” He was wrong and Ball proves that life remains in the old art. As her paintings have grown in size from small beginnings,

the way she paints has become as much her subject as who she paints. Her canvases achieve effects that the camera cannot match: like the contrast between a fringe of hair and the fabric of a jacket, or the visual impression that at areas recede as plumply modelled details advance. What is more, a painted face hides as much as it reveals once its features are filtered through the artist’s imagination. Some parts might look to have an independent, abstract life of their own, such as the edge of Masha’s scarf as it juts out into a sea of darkness like a promontory of open space.

Ball allows questions to multiply with the freedom of enquiry. Empathy blooms in an era when more and more people struggle to define the identities that suit them.

As sensitivities about appearance among adolescents and adults alike are heightened almost to psychological breaking point by the swift exchange of likenesses, the viewer receives as much scrutiny as the sitter in these portraits. The truth, Ball is suggesting, is that anonymity has its benefit – but might be more hoped for than achievable.

Sarah Ball’s solo exhibition at Stephen Friedman Gallery, London (stephenfriedman. com) runs from 28th January to 26th February 2022. sarah-ball.co.uk

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Every mission starts with you

cornwallairambulancetrust.org/donate

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Cornwall Air Ambulance Trust | Registered Charity 1133295

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Curated in

CELEBRATION WO R D S B Y DA N WA R D E N

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Celebrating the release of the DRIFT Art Review.

W

ith the release of our first Art Review, for us here at DRIFT, is the perfect start to a new year. A celebration of not ust the arts, but of the conversations they inspire and the arguments they provoke, we are delighted to shout loud about those featured within.

Within the review, we take readers on an odyssey of exploration, considering in editorial form the stories, techniques, inspirations, and aspirations, of the artists involved, alongside profile pieces on in uential galleries, collectors, and curators.

Mercedes Smith, in her foreword for the title, says: “…the more we talk about art, the greater its force becomes, which makes this first DRI T Art Review so important. Cornwall has so many talented artists, so many exceptional galleries, but so few publications to champion them, and the bridge between Cornwall and the citycentric focus of national art magazines is yet to be built. The DRI T Art Review hopes to

become a cornerstone for such a structure.

Featuring just two artists from each discipline, chosen by an anonymous panel, with a foreword from Mercedes – regular DRI T Contributor and accomplished Arts Writer – this limited-edition book is a celebration of, and a platform for, the artists for whom Cornwall provides constant inspiration.

Intriguingly current and timelessly readable, DRI T 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. It is the ultimate companion for anybody keen to immerse themselves in the creative theatre of Cornwall.

Copies are now available to purchase on the DRIFT website, with an exclusive readers’ o er currently running until t arc .

Quote ‘DRIFTART2022’ when ordering to redeem your discount.

A B OV E Will Calver Clementines in Moroccan Bowl’ 12x12 – Oil on linen

PREVIOUS Nina Brooke - Nanzila’

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A B OV E Ashley Hanson City of Glass 9’ – iction act

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TO P L E F T Richard Ballinger - Blue Trees’ Oil on Canvas - 122x91 cm. 2018

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A B OV E Trudy Montgomery Threshold 2016’

TO P R I G H T Richard Ballinger The Warm Room’ - Oil on Canvas - 103x103 cm. 2021

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A B OV E Paula Downing - Slate Shard’

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A B OV E Circle Contemporary Gallery John O’Carroll Stepper’ Gesso, pigment, copper, resin on panel with raw steel frame, 120 x 120 cm

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TOP Luke night I like the summer but I like the winter too’ Oil on board - 100x70 cm

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A B OV E Patricia Wilson Smith Pots2’ Monoprint 2021

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Where nature THRIVES

© Adrian Langdon

WO R D S B Y DA N WA R D E N

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Why do we love Cornwall?

T

his is a question that, for most, will proffer many answers. ood is of course a huge draw, as is the relaxed lifestyle that seems synonymous with being so close to the ocean.

The industrial heritage that characterises much of the landscape, and the history behind it, both provide endless days of exploration and discovery as you delve into what has shaped the Duchy in so many ways, however perhaps the greatest allure is the sense of wilderness here – both in-land, and along the endless miles of dramatic Cornish coastline. But in the modern world, ensuring the preservation of these wild places, and rewilding those that have been lost to human footprints, is becoming increasingly hard. ortunately, Cornwall Wildlife Trust has made this its mission – championing the growth of wilder places, wilder people, and ultimately, a wilder future for the county we all hold so dearly. By growing Cornwall’s suite of nature reserves and managing them to be the best sites for wildlife, as well as running wildlife pro ects on land and in rivers and seas, the Cornish ecosystem – thanks to the Trust and the amazing network of wildlife groups that it works alongside – is becoming

far better managed for the species that help make our county so uni ue.

Relying on charitable donations, grants and the generous support of its members and the general public to raise more than 2.2M every year, the money raised is spent on wildlife conservation and education in Cornwall, for present and future generations.

One of 47 Wildlife Trusts in the U , together they make up the Royal Society of Wildlife Trusts, working both independently and together towards bigger, better and more oined up spaces for wildlife’.

Much of the Trust’s work relies on public awareness – inspiring people to take action for the wildlife around them – and campaigning to help Cornwall’s communities record and understand the state of their local wild places and the life therein. By using their knowledge and experience to in uence the plans and decisions of others, Cornwall Wildlife Trust is playing a key part in fulfilling the county’s commitment to environmental growth, engaging and inspiring the next generation whose role as future decision makers is key to ensuring a future for a wild Cornwall.

LEFT Chough

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© Dylan Donaldson © Tom Shelley

LEFT One of the resident beavers at Woodland alley arm

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TOP Bartinney ire and Wild ife walk

A B OV E Protecting our native species

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© Ben Watkins

SUSTA I N

In simple terms, it’s about creating a Cornwall where nature thrives, and the Trust has been doing so since 1962. Today, it boasts more than 17,000 members, including 4,500 uniors, with a force of over 900 volunteers giving up their time to ensure the implementation of key pro ects around the Duchy. These are spread across 59 nature reserves managed by the Trust – e uating to more than 5,500 acres of land – covering woodland, meadows, wetlands and heaths, not to mention several marine and terrestrial based conservation pro ects that Cornwall Wildlife Trust runs in partnership with others.

One such pro ect is Upstream Thinking, run

by South West Water. With the motto that it’s about more than tap water’, Upstream Thinking aims to change the way we think about water and the landscape, with a view to ensuring a better future for farming, the restoration of wetlands, a future resilient water supply and, of course, improved wildlife habitats. Delivered through a uni ue range of partnerships, including with Cornwall Wildlife Trust, as well as government agencies, environmental agencies, landowners and tenant farmers, the pro ect is underpinned by the idea that when you turn on your tap, the water has travelled across high grounds,

through farm land, rivers and streams, before being stored in reservoirs and eventually processed; that thinking upstream’ of your tap, demands consideration of the land surrounding our watercourses, the human impact on it, and how that eventually affects what ends up in our drinking glasses. One of the benefits of Upstream Thinking, is the recommendation from South West Water to introduce buffer strips’ next to rivers, to filter the run off from the land and everything it carries with it – manure, pesticides, herbicides and more – before it runs into the watercourse.

Buffer strips, according to South West Water, can be planted with nectar-rich plants, which bees, butter ies and birds appreciate. ish and invertebrates are more likely to breed and thrive in the cleaner water, which in turn will provide food for otters and kingfishers.

In short, it’s precisely the kind of pro ect Cornwall Wildlife Trust is all about.

Another is the Penwith Landscape Partnership (PLP) – a community of organisations and individuals who, together, share the aim of supporting the understanding, conservation and enhancement of the stunning Penwith landscape, as one suited to a sustainable way of life. A place where farming prospers need not necessarily come at the cost of the landscape’s natural resources, and in fact, the PLP actively works to restore habitat connectivity and enhance the area’s archaeological heritage, ensuring its longevity as a landscape that is loved, en oyed and supported by local communities and visitors, for generations to come.

Pro ects like these have perhaps never been more important, especially in light of the findings within the State of Nature Cornwall 2020 report released by Cornwall Wildlife Trust last year. The report – an accumulation of research gathered in partnership with Cornwall Council and the University of Exeter – was commissioned by the Trust in light of

TOP Silver studded blue butter y

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© Ben Watkins

TOP Windmill arm

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A B OV E Open Gardens 10 ears event at Trenarth

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© Ellie Smart

A B OV E Bottlenose dolphins at St Michael’s Mount

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the 2019 National State of Nature report.

According to this, 41 of U species have decreased in abundance since 1970, sparking talks of an ecological emergency.

But it’s not all bad Cornish choughs have been successfully brought back from the brink of local extinction; the report suggests that 75 of people value nature now more than pre-covid; and the fact that beavers and water voles have been reintroduced to Cornwall is a huge step in the right direction. Indeed, after a 400-year absence, the re-introduction of beavers really is of huge significance. The Cornwall Beaver Pro ect can be found on a five acre woodland plantation along Nankilly Water, a stream at Woodland alley arm near Ladock. The site, which has been fenced to create a beaver enclosure, is home to two adult beavers – Willow and Chewy – who have been left, since 2017, to re-engineer the area through dam and canal building. nown as a keystone’ species, or ecosystem engineers’, you might think this is a lot for these enigmatic creatures to live up to, yet you need only see how radically they have transformed the north Cornwall site since their introduction to understand ust how accurate a ob description it is. Dams are continually being extended by the beavers, with new ones cropping up all the time, and while the wider impact of their presence is still being monitored, the potential to alleviate ooding in the downstream village of Ladock cannot be oversold. It’s also hoped that the benefits will extend to increased biodiversity in the

© Nathaniel Barry

The State of Nature Cornwall report paints a similarly grim picture. ey findings include that almost a quarter of all terrestrial mammals and butter y species are at risk, that 150km of Cornish hedges have been lost since 1990, and that there has been a 30 decrease in farmland bird species within the county. Not good news at all.

area, including the creation of new habitats for amphibians, bats, some invertebrates and fish. ou might also be interested to know that the beaver presence over the five years has increased to eight as Willow and Chewy decided it was time to make their undertaking a family business At a time when there is so much information about our impact on the environment, and so many ways in which we can change and alter our lifestyles in the fight for a greener, more sustainable future, Cornwall Beaver Pro ect is a signpost in the direction of what can be achieved if organisations like Cornwall Wildlife Trust and other likeminded groups and individials are supported to continue doing what they do. As a charity, Cornwall Wildlife Trust relies on the kindness and generosity of its supporters to carry out its vital conservation work, and whether you decide to leave a gift in your will, to volunteer, become a member, or donate, your contribution will be a lasting one towards revitalising the Duchy as a haven for wildlife – safeguarding the enigmatic wilderness that makes Cornwall so special to us all. cornwallwildlifetrust.org.uk

TOP Wally the Walrus

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C O M M E N T

Eventide WO R D S B Y M A RC C OT T R E L L

Y

ou would be hard pressed to find a region within the U that has a stronger brand presence than Cornwall. One could argue that if you slap St Piran’s ag on a product or service then it increases its salability significantly, particularly if it’s a homegrown Duchy-crafted or manufactured product.

Of course, Cornwall is world famous for its artistic and mining history; indeed, it’s said that if you dig a hole anywhere, you’ll likely find a Cornishman at the bottom However, over recent years the region’s SME’s and Cottage Industries have en oyed significant growth following the roll out of the U ’s superfast broadband program, of which Cornwall was an early beneficiary, and we saw the draw of a Cornish lifestyle start to attract an even broader spectrum of both conventional and unconventional businesses. rom architects and graphic designers to robotics and other tech-based industries.

Of course, the past 24 months has seen a seismic shift in how all businesses will operate going forward. The ability for employees across all industries to work from home has resulted in a tsunami of people looking to move to the region and not only make Cornwall their home but also migrate their businesses to our region.

My work with Nest Seekers International involves showcasing Cornwall to a global audience. It means not only promoting the type

of lifestyle Cornwall has to offer, but also how we can attract new businesses and partnerships for growth. As a result, I engage in a good deal of networking and meeting up with local businesses and I love to hear how people have successfully turned what was a passion into a thriving business.

What is particularly evident is the strong environmental and entrepreneurial spirit that runs throughout Cornwall. A spirit that breeds creativity, drive and ambition. It’s also wonderful to see businesses, old and new, support and encourage one another, celebrating each other’s successes and providing solutions and encouragement to overcome the inevitable obstacle that life in business throws up from time to time.

I’ve found the machine that drives all things brand Cornwall’ is without doubt the Cornish residents themselves, and of course the togetherness or mantra Onen Hag Oll’ (One and All).

Marc Cottrell is director and head of Nest Seekers International in Cornwall based in Truro. Nest Seekers International is a rapidly expanding glo al real estate rm wit over o ces and , professionals fre uently featured as experts on media outlets suc as C C, C, loom erg, all treet Journal, ew ork imes and on real estate reality shows. nestseekers.com

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