Drift 40

Volume No40 £10.00

Notes on

CANVAS Stripped back interpretations prove that less is more

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Drift /drift/

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On the cover ‘The Morning Remembered Me’, mixed media on canvas by Maria Floyd, as featured from page 28. mariafloydart.com

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02/09/2024 09:26

T E A M

Foreword The modern world is often frenetic and a place that becomes filled over time with the inevitable paraphernalia and accoutrements of a life well lived. As we grow, we are constantly collecting; many items are material, others are mere memories or moments. However, there comes a time when we need to rid ourselves of the extraneous, adopting a less-is-more approach. Such simplicity and restraint can have a powerful impact, more so than complexity or excessive ornamentation. It’s a reminder to focus on the essentials and to find beauty in the simplicity of form and function, innovation and expression and an overarching passion for the natural world which surrounds us. Photographer and Director, Chris Tuff (17) takes a minimal approach to his work, reducing the elements of the landscape to form, shape,

colour and line in order to capture its essence.

Similarly, artist Maria Floyd (28) employs pure colour and a minimal use of detail to maximum effect. It’s not just the creative world that benefits from the notion of stripping back, as Victoria Clark (69) exemplifies. Exchanging the intensity of a city trading floor to a slower pace by the coast, she has found tranquillity in her own life which, in turn, has enabled her to help others to do the same. A quieter and more gentle approach is also adopted by the family who run Wooda Farm (76).

For nearly half a century they have been inviting guests to find meaningful connections, whether that be through spending time with family and friends, an immersion in nature or embracing the simpler ways of life. We hope that the narratives over the coming pages will help you to do the same.

Our contributors

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Mercedes Smith

Lucy Studley

Martin Holman

Rosie Cattrell

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Quintessential Cornish Cottage with 16th Century Origins Ayr Cottage | Bossiney | Tintagel | PL34 0AY £545,000 Guide Situated in the coastal hamlet of Bossiney, tucked along a hedgerow lane and surrounded by its pretty shrub filled garden is Ayr Cottage. This quintessentially three bedroom detached Cornish cottage has a long rich history with 16th century origins and bags of original character. Thick stone walls, ceiling beams and huge inglenook fireplace reflect the historic narrative of this gorgeous cottage which is located just moments from the South West coastal footpath of North Cornwall.

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C O N T E N T S

At a glance 17 E L E M E N T A L D R A M A

76 M E A N I N G F U L C O N N E C T I O N S

Through the lens of Chris Tuff

A family run business that has been welcoming visitors to its farm for almost a century

28 N OT E S O N C A N VA S

85 A N E W D A W N

Maria Floyd’s stripped back interpretations of the landscape

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Recipes from Tom Hannon, chef patron of The Rising Sun

THE EDGES OF ENDSLEIGH

92 J O I N T H E M O V E M E N T

An enchanting hotel with a 200-year-old story to tell

A Cornish dive watch is taking luxury aesthetic and rugged practicality to new heights

53 T H E S P I R I T O F T H E S A I N T

97 A S E N S E O F P L A C E

The tale of an artisan gin, distilled in the heart of west Cornwall

The work of Andrew Giddens wields the spirit of Cornwall

60 L U X U RY H O M E S

104 T A K I N G S A N C T U A RY

At the pinnacle of the Cornish market

Puffin Island, the only habitat in the UK to house rescued Atlantic puffins

69 A L L I N O R D E R

From trading floors to tranquillity: a journey of transformation and resilience

110 T I P P I N G T H E B A L A N C E

The inner world of Arthur Lanyon’s paintings

122 E V E N T I D E

The last word from Mark Hillson

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Elemental DRAMA

WO R D S B Y H A N N A H TA P P I N G | I M AG E S B Y C H R I S T U F F

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F O C U S

Chris Tuff, international award-winning photographer and director, takes a minimal approach to landscape using strong composition, colour and form to define his work.

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“For me, black and white captures the elemental drama and primal spirit and beauty of the Cornish coast in a way that colour cannot,” explains Chris. “Perhaps because I work primarily in black and white, my approach to colour photography differs from other photographers and tends towards the abstract and minimal. The quality of light and unique colour palette of the landscape in Cornwall has attracted generations of artists, in Summer, the sea and sky are intense shades of cerulean and turquoise and in Winter, they become steely cobalt and indigo blue.”

hris’ relationship with monochrome photography began as a child: “My father taught me to process my own films and make prints in his darkroom.

I was immediately captivated by the alchemical magic of seeing images slowly appear on the paper and how my vision of a moment became a physical artefact, a photographic print. Although I now rarely work with film, the art and craft of printmaking in the darkroom still influences how I approach the postproduction of images today.

I seldom do much to an image digitally that I would not be able to achieve in a darkroom.”

Much as Chris uses the physical attributes of the landscape, as compositional elements in black and white, his colour images use the contrast and juxtaposition of colour and shades as compositional forms, inspired more by artists such as Rothko than other photographers, reducing the elements of the landscape to form, shape, colour and line to capture its essence.

For photographers working before the mid 20th century, monochrome was the only practical choice, but the creative appeal of black and white photography remains an enduring genre of choice for many contemporary ‘art’ photographers. It removes the distraction of colour and is an abstracted, less literal representation of the world. It also, arguably, invites a more creative interpretation of the subject that demands a particular way of seeing and thinking, reducing imagery to the influence of lighting, shadows, contrast, texture, form and patterns.

PREVIOUS ‘Sun & Sea’

Chris is a member of the Lizard Arts Collective who exhibit a selection of work in the Stableyard Gallery at the historic Trelowarren Estate. His limited-edition prints are made to order. christuffphoto.com

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INSET ‘Portait’ by Professor J Thomas Lopez

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TOP ‘The Bather 2’

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A B OV E ‘Kynance Cove1’

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TOP ‘1862 Cerulean Sea’ variant

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A B OV E ‘Red Boat’

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A B OV E ‘Dying Light’

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A B OV E ‘Self Portait’

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TOP ‘Distant Sun 1’

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A B OV E ‘Distant Sun 2’

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TOP ‘Ascension’

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A B OV E ‘The Calm’

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A B OV E ‘Silver Sea 1’

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TOP ‘Transient Tide’

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Notes on

CANVAS WO R D S B Y M E RC E D E S S M I T H

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C R E AT E

Maria Floyd’s stripped back interpretations of the Dartmoor landscape prove less is truly more.

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It was, and still is, a highly progressive school. “I was there in the wake of Damien Hirst, so it was an amazing time. I was pretty naive artistically speaking, so being exposed to such a wide variety of work by painters who were doing such extraordinary things really broadened my horizons.” In the studio, Maria and her fellow students were encouraged to “strip everything back, which was a good thing, to just question what we were making, and why”.

rtist Maria Floyd tells me she was just 16 when she decided to become a painter: easy decision, tough path to walk at that age, I reply. Maria, though, had talent and commitment, and she went on to study at Chelsea College of Art and to graduate from Goldsmiths College, two of the most prestigious art schools in Europe. At Goldsmiths, during the early nineties, she took the toughest and most in-depth academic route, studying for a combined Fine Art and Art History degree, and what she learned continues to influence the progression of her career.

As her studies progressed, the emphatic colour and highly physical processes of artists like Mark Rothko and the American Abstract Expressionists became an important influence on her work. “It was also the scale and composition of Rothko’s work that inspired me,” she says, “and his ability

“Goldsmiths was quite a shock for someone who had grown up with a love of figure drawing and the Renaissance,” says Maria.

PREVIOUS ‘Never Alone’ (section) – mixed media on board

INSET Maria Floyd at the easel

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TOP ‘Another Land’ – mixed media on canvas

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A B OV E ‘Walking Lines’ – mixed media on board.

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C R E AT E

to make each work sing with such a little amount on the canvas.” I immediately note that Maria’s own work might be defined in the exact same terms: large scale works which employ pure colour and minimal use of detail to maximum effect. “Rothko’s Chapel works were also a good bridge for me, because they were partly inspired by the art and architecture of French and Italian churches, by the awe and reverence you feel when you walk in, and that linked directly to my interest in Renaissance art.”

I can go to the same spot each day to sketch and it will never look the same. In fact, I don’t explore as much as I should because one place can keep inspiring my work for weeks on end, but that develops a real intimacy I think. You have to spend a lot of time in a place before you can properly express it. That’s when you get to develop a kind of shorthand in your drawing and painting, because a place has become so familiar.”

I like Maria’s use of the word ‘shorthand’.

It perfectly describes her recent works.

Shorthand, by definition, is minimal notation that is highly charged with content: in the same way, Maria’s marks are simple but impactful notations on her subject. How, I ask her, does she begin to build these paintings full of lines, marks and drips. “I always start flat on the floor,” she explains, “especially with the very big works. I will have drawings all around me from my plein air sketchbooks, and other experimental drawings I’ve made in the studio. I work with charcoal first, to sketch out the composition. That’s the draughtsman in me. I like to keep drawing elements in my paintings.” I examine the long, liquid lines and the sgraffito detailing in her works. Even the incidental drips and runs seem almost drawn. “Then I will work into the surface, scraping back and dribbling paint, but I have to keep walking

Awe and reverence are feelings I associate with large scale abstract works, but Maria’s works are clearly figurative, though broken down into simplified elements. Ideas of awe in her work relate entirely to her subject, the spectacular south west landscape, while her marks reflect the gestural movements of expressive abstraction. “I am always trying to express the power of the elements in my work,” says Maria, “to give a fleeting glimpse of a moment in the landscape, and the experience of being in it. It is so incredibly beautiful here,” she says of her home on the western edge of Dartmoor.

“It’s the wildness of the place, that’s what I love about it. It is one of our last grand, empty landscapes. The sky here is vast, and you can look out across the moor and not see a single person or anything man made. That leaves room only for the weather, which is different every day.

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C R E AT E

liveliness. And space on the canvas is very important. There has to be space for a personal relationship between the viewer and the painting. The painting must not bully the viewer.”

away because I don’t want to overdo it.

That’s crucial, that the works are not overdone, that’s their strength.”

I ask her about the walking away, the back and forth, the classic tussle between artist and canvas. “There is always a tussle,” she says. “There is a battle going on.

Sometimes the work gets the better of me, and sometimes I manage to keep control.”

How then, does she know she has won, and the work is finished? “Quite simply, when I walk away, the ones that I’ve won I want to keep. The others go. I scrape them back and start again. A painting has got the better of me if it is overworked, if I have failed to achieve spontaneity and

I agree with Maria entirely on that point. That is why I have always loved abstraction. Abstract art says ‘let’s talk’, while figuration says ‘take me or leave me’. “And scale is important too,” she adds.

“It allows you to really express. You can be more gestural. Quite often I use my whole arm to paint, so I need space on the canvas. Scale brings a sense of gravitas to an artwork as well, it makes more of a statement. With big paintings you have to

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A B OV E ‘Echoes of Yesterday’ – acrylic and charcoal on canvas

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A B OV E ‘The Morning Remembered Me’ – mixed media on canvas

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A B OV E ‘Edge of the Field’ -– mixed media on canvas

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A B OV E ‘Following the Path’ – mixed media on canvas

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TOP ‘Never Alone’ – mixed media on board

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A B OV E ‘Where Others Walked’ -– mixed media on board

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C R E AT E

to the South West specifically for the beauty of the landscape. Now we are in Devon, on Dartmoor, which I had never even seen before we moved here. I was completely surprised by it. I have never been a painter of tranquil landscapes, the work I made on the North Cornwall coast was always dramatic, but Dartmoor is something else. It is such a special place.

It draws you in and can become quite an obsession. It has inspired me to really push my work, to strip things back even further in all my paintings, and to really find my voice. Dartmoor is that kind of truly commanding landscape.”

step back. They have more presence. You have to really respect an artwork to take it on, on that large scale, and to appreciate its independence from you.” We talk about the colours in her work. In contrast to the hot colours of the expressionist paintings she admires so much, Maria’s colours tend towards the cool, though they all have a vibrancy and glow. “I have always had a bias towards earth colours,” she tells me, “particularly greens and graphite now.

Those colours arrived in my work when I moved to Devon.”

Maria previously lived in London, then moved to Trebarwith Strand in north Cornwall. “Like most people, we came

mariafloydart.com

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A B OV E ‘Endless Green’ – acrylic on board

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© Sarah Kelley

The edges

of ENDSLEIGH WORDS BY ROSIE CATTRELL

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R E T R E AT

With a 200-year-old story waiting to be uncovered, an English countryside paradise borders this enchanting hotel.

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dotted with follies and grottos, there’s a kind of magic to be found wandering the grounds of this Grade I-listed estate, now under the ownership of expert hotelier, Olga Polizzi.

f you owned over a third of Devon in the early 1800s, you might consider seeking out the perfect setting for your summer country home a rather daunting task. However, for the Duke of Bedford and his wife Georgiana, one particular spot in the county presented an opportunity for a residence surrounded by exceptional natural beauty, fit for a Duchess. © The Polizzi Collection

Acquired in 2004, almost 200 years after the first stone was laid, Olga and her daughter Alex channelled their famed expertise into bringing the property back to life, transforming Endsleigh into the luxury hotel that we know today.

“Endsleigh’s a rather beautiful, unusual house. When I bought it,” Olga recalls, “I really bought it more with my heart than with my head. There are

Rooted in the fresh green fold of the Tamar Valley, Endsleigh’s enchanting riverside setting seems sampled straight from the pages of a fairy tale. Amidst 108 acres of breath-taking gardens and wild woodlands

PREVIOUS Hotel Endsleigh

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INSET The Rosewalk

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© Bradley Coles

© The Polizzi Collection

© Paul Massey

© Paul Massey

© The Polizzi Collection

TOP The Terrace and Suite 20

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MIDDLE The Long Border

A B OV E Food takes inspiration from the countryside

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© Paul Massey

© Paul Massey

TOP Views are endless

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A B OV E The opportunity of private dining

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R E T R E AT

gardens that run from the hotel to the river are reminiscent of 19th century days spent wandering the lawns at leisure with the Duchess in search of today’s picnic spot.

not many places in England left like this.”

In a state of disrepair, restoring the property back to its former glory would have been no easy task, but now any visitor is privy to the magic of days long gone by as they explore the charming character which has been so carefully revived.

While Endsleigh’s Eden-esque exterior is of another world entirely, the hotel itself draws you into carefully considered interiors, crafted by Olga in such a way that honours the property’s lavish and romantic past, but also meets their exceptional standards for a luxury stay to rival some of the best in the world.

“It’s a very special place. All you’ll hear is birdsong, the wind, nature – there’s no light pollution. If you want to relax, read and walk, it’s the perfect place,” Olga reflects. Complete with a well-stocked library, seemingly endless reading nooks and comfortable perches with astonishing countryside views – not to mention a wonderful immersion into the natural world as you wander the grounds alongside the tranquil murmurs of the River Tamar – I’m inclined to believe her.

© Paul Massey

With endless crests of the Bedford’s relatives and friends edging the wood-lined walls, the Endsleigh dining room remains almost exactly as it was in the days of the Duke and Duchess. Even original wallpaper put up by the Bedford’s lines some of the bedrooms in a delightfully touching nod to the past, the birds and flowers imprinted on the paper having watched the long years unfold.

Designed by Humphry Repton himself as the final commission of his career, the Endsleigh gardens are the crown of the estate, which, understandably, came to be known as ‘The Garden Paradise of the West’. Towering champion trees guide you through the woodlands, and giantleaved gunnera line the dell in summer, transporting you to the tropics. The formal

Each room and every suite have been individually designed with a classic, uncluttered elegance in mind, a pleasant combination of antique pieces adorning the spaces along with the familiar comfort of simple modern touches. Olga’s latest

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INSET The Terrace

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R E T R E AT

Opposite is the bathroom with its freestanding bath and shower, and through the pantry and bar area is a spacious sitting room that invites lingering glances out over the extensive gardens, along with the cosy addition of a wood-burning stove and a dining table for six. One last door reveals a cabin room fit for a younger family member, with every shutter throughout the suite a replica of the original and rather unique Endsleigh shutters.

completion of two new suites in the old stables presents yet another enchanting Endsleigh experience, bringing the room count up to 21.

What used to be the hay loft of the old stables, Suite 22 (known at The Lady Olga Suite) proved to be an exciting project, with sloping ceilings and lots of dormer windows providing a challenge when it came to designing the rooms. “The spaces have worked out well and are quirky and charming. This suite is particularly romantic, cosy and unusual, somewhere I would like to stay myself,” Olga considers.

To uncover Suite 21, you must enter from the gardens of the hotel, the hallway parallel to a large, quirky bathroom complete with a freestanding rolltop bath and walkin shower. A bunkbed room welcomes little ones, while the large bedroom and sitting room boasts high ceilings and a sumptuously stylish finish. A calming colour palette throughout makes this a most relaxing space in which to unwind in the fresh natural light.

© Paul Massey

Find your way across the courtyard and through the old stable door to walk over original one-inch concrete tiles into a panelled hallway housing a unique 18th century statue of a mother and child. Colefax and Fowler’s ‘Greenacre’ wallpaper guides you up the staircase to a beautiful 19th century French writing desk overlooking the stable courtyard, while a pretty bedroom is set into the eaves to the right, beckoning a restful night’s sleep. A bespoke floral sofa at the foot of the bed keeps the secret of a pop-up television hidden within, allowing for comfy movie moments.

INSET Indulge in afternoon tea

Taking inspiration from the surrounding countryside, Endsleigh’s food offering is as exceptional as you might imagine for such a setting. In keeping with an age-old tradition, afternoon tea is the highlight of each day spent here, and it’s easy to imagine the

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© Paul Massey

© Paul Massey © Paul Massey

TOP Suite 20

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R E T R E AT

From intimate ceremonies in the likes of Shell House, its walls adorned with ancient shells and coral, to the blissfully romantic garden occasion sheltered by canvas and accompanied by the hum of bees and gentle birdsong – sunlit days and starlit evenings cast you back to magic Endsleigh moments shared by a Duke and his Duchess.

Bedford’s whiling away an afternoon with finger sandwiches, cakes and a pot of tea.

For those seeking a secluded sunny spot in the grounds, a preordered picnic afternoon tea packed into a returnable rucksack allows for delicious summer moments. As Alan Titchmarsh so eloquently puts it, “if a hotel were ever built in paradise, it would be like Endsleigh – a fairy tale cottage set in an Arcadian landscape with delicious food and blissful rooms.”

With only the stars to illuminate the sky overhead each night, and the sleepy sounds of the Tamar to lull you to into peaceful dreams, romance roams free on the edges of Endsleigh.

Days spent at Endsleigh feel like endless illustrations of a nostalgic daydream come to life. Naturally, a setting as enchanting as this invites star-crossed lovers to wed with nature and loved ones all around.

thepolizzicollection.com

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A B OV E The Library

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Image © Faydit photography

The Spirit

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

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QU EN C H

The tale of an artisan gin, distilled in the heart of west Cornwall, destined to be sipped the world over.

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would stand out from the crowd. We knew the kind of taste we wanted to achieve and so we brought in the expertise of Matt Servini and Vanessa Rapier of The Craft Distilling Business. As a master distiller, we worked closely with Matt to land on the perfect recipe.” Wendy adds: “I’ve always been an avid cook, but obviously there are different ingredients to consider when making a spirit. We worked really closely with Matt, who’s been pivotal to the brand in creating the perfect recipe and Vanessa was instrumental in guiding us through the legal, licensing and duty process.” © Faydit photography

ll good conversations begin over a long table, and this one’s no exception. I’m meeting with Cornish gin producers Wendy and Greville Richards to find out the story behind a spirit that is making waves in the food and drink community.

Greville is no stranger to production.

Coming from a Cornish farming background, he co-founded his own vegetable farm in his early twenties.

Southern England Farms (SEF) is now a multimillion-pound national supplier of brassicas, courgettes and more, to retailers that include the supermarket giants Tesco and Sainsbury’s.

They began by blindtesting five sample recipes created by Matt and based on their desire to create a smooth gin with a warm finish: “After a few tweaks,” explains Wendy, “we landed on the finished recipe for Saint Sithney Gin. It’s unashamedly juniper heavy, as we

Staying true to Cornish roots, we meet at their home in the parish of Sithney and as we sit down to coffee, I’m curious as to why the move into distilling. Greville begins the tale: “We wanted to create a gin that was distilled right here in our parish; one that

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INCORPORATING

CHRISTIES

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QU E N C H

Their still, affectionately also named Wendy, is housed in a distillation plant just up the road. “It all starts with the base spirit,” continues Wendy, “which I then combine with our carefully selected botanicals and Cornish water.” Wendy is Saint Sithney’s chief distiller and has learned her craft from the masters.

From inception to the first bottling took very little time, such was Wendy and Greville’s passion for the project.

Saint Sithney Gin launched its first bottles in December 2023, and it very soon became the talk of the Duchy. Keen to see how it would be received by Cornish restaurants, Greville dispatched a bottle to friend and renowned local chef, Jude Kereama. “He called me after a busy Christmas,” said Greville, “and his words to me on the phone were… “It’s not good.” I was devastated, until he followed it up with… “It’s absolutely exceptional!” It turns out that Jude and a friend had spent a Sunday afternoon sampling it with different slices and tonic variations.

Jude’s favourite serve is with a local Navas tonic water, and he came to the conclusion it didn’t need a slice. We would say different, as our personal preference is added citrus and while I like Fever Tree, Wendy prefers a traditional Schweppes tonic – but that’s the beauty of Saint Sithney Gin, it’s so versatile everyone can find their own favourite serve.”

Saint Sithney Gin has had no small amount of investment put into it from the very start: “We knew what we wanted and we have invested considerably in making this the very best product we could,” says Greville.

Self-funded, there’s been no inward investment from third parties, testament to the belief that Saint Sithney Gin is a shot above the rest.

As well as being stocked in discerning Cornish bars, restaurants – notably the Great Cornish Food store in Truro, The Pig at Harlyn Bay, the Bedruthan Hotel, Hooked on the Rocks and Trevisker’s Kitchen – Saint Sithney Gin has received acclaim across the Tamar. You’ll find the distinct blue bottle gracing bars across the southern counties, as well as recently being

© Faydit photography

wanted to maintain that signature ‘piney’ taste, but there’s a citrus note in there as well from orange and lemon, a little bit of lemongrass and some kaffir lime for freshness.” The specific botanicals are, of course, a well-guarded secret but Wendy does share that the lovely warm end-notes come from a touch of cardamom; there’s no harsh burn at the back of throat with Saint Sithney Gin.

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© Milly Fletcher

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QU E N C H

an alcohol-free version and even a Cornish tequila-style spirit in the offing. Further down the line, Marsinney Farm, which has been in the Richards family for centuries and lies at the heart of Sithney parish, has been pinpointed as a growth area. At just 32 acres, it’s too small for the industrial farm machinery that keeps the wheels of SEF turning, but perfect as a dedicated distillery and visitor centre, as well as a place to grow botanicals as Greville explains: “The nine fields can be planted with everything from juniper and blackthorn to elderflower, and maybe even some agave…”

adopted by Tom Kerridge in London whose bar manager, Declan Wilkins declared it as having “great balance and very refreshing flavours – perfect for a Martini.”

Much care has been taken with the branding of Saint Sithney. The English bottles were hand-picked for their deep blue colour and each one is beautifully decorated with a map of the area, peppered with icons of the mining heritage that define the local landscape of the distillery.

A sense of place is important to Wendy and Greville; even their single and double bottle despatch packaging is sourced from FlexiHex, a sustainable packaging brand whose headquarters are just down the road.

The future looks bright for Saint Sithney Gin; internet sales are growing significantly and two area sales managers are soon to be joined by a dedicated export manager. If you’re travelling in or out of the county you might just catch sight of the brand’s four impressive wrapped Conway Bailey trailers that are taking the Saint Sithney message across the UK’s road networks daily.

As we chat, it’s clear that Wendy and Greville have big plans for Saint Sithney.

Next on the horizon is an orange flavoured gin, aptly named Cornish Sunset; I’m allowed a sneak preview of the bottle and it’s so reminiscent of the deep colours we are treated to at sundown on summer days that I’m instantly transported to sandy shores, looking to the horizon with a Saint Sithney in hand.

I leave the warm welcome of the Richard’s table and the parish of Sithney, quite simply wishing the day away as I’m eager to celebrate their success with a Saint Sithney serve of my own. I’m thinking along the same lines of the venerable Mr Wilkins… it’s must be almost Martini-o’clock!

The promise is of a warm, soothing gin that will have spicy undertones yet maintain that slight bitter edge of orange that will cut through the sweetness just perfectly.

The recipe’s still in its formative stages, but when launched it’s certain to be sipped with aplomb. There’s talk of more flavours,

saintsithney.com saintsithney

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P RO P E RT Y

A rare

OPPORTUNITY Seafront is a beach front property with unobscured panoramic sea views right across the bay to St Ives.

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his detached property is ideally situated to benefit from the arc of the sun as it illuminates the bay in the morning and the front of the property into the late evening; making it the perfect place to enjoy a drink or dinner and watch it sink below the horizon as the day draws to a close.

Seafront would make for a highly versatile acquisition. It currently features a wellappointed annexe, perfect for guests or for providing additional income as a holiday let.

The sperate owner’s accommodation also offers beach views, with a broad sitting room facing the sea and a spacious kitchen leading to a rear terrace. It has a master bedroom with en suite and a guest bedroom with a family bathroom.

Located in Porthtowan, Seafront is situated upon a sizeable plot with both front and private rear gardens.

SEAFRONT Guide price: £1.375M ROHRS & ROWE 01872 306360 info@rohrsandrowe.co.uk

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P RO P E RT Y

An opulent

RESIDENCE Discreetly situated in a wooded valley on the edge of a coveted village is this hidden gem.

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arden House is a beautiful example of progressive mid 20th century modernist architecture, discreetly set in a wooded valley on the edge of the coveted village of St Mawgan on the north Cornish coast. This impressive property is set in over an acre of wonderful mature gardens and grounds cultivated over the last 45 years, with stunning views out across the valley and treetops.

The house boasts endless luxury, with two swimming pools, one inside and one out, and luxury materials and finishes at every turn. On the ground floor you’ll find three large double bedrooms, while the fourth bedroom is a selfcontained studio with a small, fitted kitchenette and its own ensuite bathroom. The first floor is where the influence of Scandinavian design is most evident, with its impressive t-shaped living room, from where there is access to the magnificent master bedroom. A fantastic sunken marble bath is a welcome surprise, as well as the vast expanse of windows and sliding doors to the rear and the front of the house.

GARDEN HOUSE Guide price: £1.3M JACKIE STANLEY 01841 532555 sales@jackie-stanley.co.uk

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P RO P E RT Y

A masterpiece OF DESIGN A contemporary property finished to the highest standard enjoying expansive rural views.

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he Hide is an exquisite, newly-built contemporary residence, offering unparalleled privacy and panoramic rural views from every angle. Tucked away at the end of a 400-meter driveway in Veryan, near Truro, this magnificent home features four ensuite bedrooms, a sunken sitting area, and a seamlessly open-plan living space. The high-specification finishes include a bespoke kitchen by Mayflower with Silestone worktops and a central island, Italian stone flooring with underfloor heating and an elegant circular steel staircase.

The master suite has its own terrace and a spalike bathroom, along with his-and-hers dressing rooms. Outside, there is a delightful terrace leading out from the kitchen, a large flat lawned area and electric gates secure the property. There is already ample parking, with the additional benefit of planning permission being in place for a four-car garage. The Hide epitomises luxury living, blending cutting-edge design with serene countryside charm, making it an ideal retreat for those seeking privacy and sophistication.

THE HIDE Guide price: £2.65M JACKSON-STOPS 01872 261160 cornwall@jackson-stops.co.uk

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P RO P E RT Y

Coastal RARITY

A unique pairing of properties with historic significance in an enviable north-coast location.

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palong and The Rocket House are two highly versatile properties located in the heart of Trebetherick. The main semi-detached period residence Upalong, which has three bedrooms and three bathrooms, was originally built in 1840 as the Trebetherick coastguard’s cottage. The smaller adjacent onebedroom Rocket House, which has a strong letting history, was once used to house the rockets that were used in Henry Trengrouse’s off-shore rescue system. Both properties enjoy far-reaching views of the countryside as well as easy access on foot to the village’s amenities.

When it comes to sought-after locations on Cornwall’s north coast, Trebetherick is up there with the finest. Situated at the mouth of the Camel Estuary, it offers easy access to some of the finest beaches, most prestigious golf courses and Michelin-starred restaurants. The newly upgraded A30, a mainline station at Bodmin and Cornwall Airport Newquay nearby provide access to London and beyond, making this a great opportunity to purchase in the Duchy.

UPALONG AND THE ROCKET HOUSE Guide Price: £895,000 JOHN BRAY ESTATES 01208 862601 sales@johnbrayestates.co.uk

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Unit 7 Alphinbrook Court, Alphinbrook Road, Marsh Barton, Exeter, EX2 8QR

Combining German quality and design with exceptional service.

At Kutchenhaus, you will find the best and most affordable high quality German kitchens with a wide range of modern handleless, contemporary or classic designs.

Book your free design consultation at Kutchenhaus Exeter T: 01392 409 968 | E: showroom@exeter.kutchenhaus.co.uk

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

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I N SPI R AT I O N

From trading floors to tranquillity: a journey of transformation and resilience.

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n the world of high finance, where stakes are perpetually high, life often pivots on a knife’s edge. This was the life Victoria Clark once led, navigating the frenetic energy of trading floors, where every second counted and every decision could shift fortunes. However, the narrative of her life took a dramatic turn after a traumatic event, propelling her from the intensity of the financial world to a profoundly different, yet equally challenging, vocation—helping others reclaim order and peace in their homes and lives.

perform was relentless. Yet, they found a certain exhilaration in this life, feeding off the adrenaline that came with the territory.

Victoria’s story begins in the bustling financial hubs of London and Madrid, where she and her husband, once key players in the high-octane environment of money brokering, thrived amid the chaos. The trading floor was a battleground where screams of buy and sell orders were the norm, and the pressure to

Victoria’s journey of transformation began as she sought to find meaning and stability in her life. She channelled her energy into creating a new venture, ByVictoriaClark, a company dedicated to professional organising and decluttering. This shift from managing financial portfolios to managing household

INSET Victoria Clark

Their life, however, was not without its darker moments. Victoria’s husband endured a harrowing experience which, coupled with the cutthroat nature of their profession, left lasting scars, necessitating a move from the fast-paced trading floors of Madrid to Cornwall’s calmer shores where they would find respite, peace and a chance to heal.

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I N SPI R AT I O N

Victoria’s approach is deeply personal and compassionate. She often finds herself working with clients who are in dire need of help, ranging from elderly individuals unable to maintain their homes to families coping with the aftermath of a loved one’s death. Her work with Age UK and other local charities highlights her commitment to making a tangible difference in people’s lives, regardless of their financial situation.

Perhaps one of the most poignant aspects of Victoria’s work is the personal stories she encounters. From helping a client to regain control of her home after losing a loved one to assisting another overwhelmed by hoarding tendencies, Victoria approaches each case with dedication and compassion.

“I was able to help a client with mental health problems who was living in terrible conditions, surrounded by filth and neglect, yet yearning for dignity and normality.

It took patience and perseverance, but by approaching the task with dignity and respect for someone who was clearly struggling I was able to help transform their living space, providing not just physical order but emotional relief as well.”

chaos was more than a career change; it was a lifeline. “The foundation of my business was laid on the principles of empathy and understanding,” explains Victoria. “Drawing on my own experiences of upheaval and distress, I wanted to bring order and serenity to others facing similar chaos. My business is not just about tidying up spaces; it’s about transforming lives, offering support where it’s needed most, and bringing a sense of peace to those overwhelmed by clutter and disorder.”

Her clients range from those who have inherited property filled with generations’ worth of belongings and those who are simply overwhelmed by the demands of maintaining multiple residences to those who are looking to declutter before putting their property on the market. “When you move house, it’s so much easier if you can declutter before,” says Victoria. “Reducing unnecessary items not only cuts down on moving costs but also simplifies the process, making new spaces more inviting and functional from the outset.”

Another story involves a client who had lost his wife and was living in a house so cluttered he could barely move around.

Victoria’s intervention not only restored the functionality of his home but also his sense of independence and pride. It’s stories such as these that underscore the transformative power of her work and the profound impact it can have.

While the work is rewarding, Victoria tells me that it’s not without its challenges.

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SU STA I N

“I am often faced with mental health issues, sometimes resistance from clients, and the emotional burden of dealing with traumatic situations,” she explains, “sometimes it takes a lot for inner resilience and commitment to keep going, but I find solace in the progress I help others achieve, whether it’s through decluttering a space or offering emotional support during tough times.”

As part of her service, Victoria helps her clients to donate unwanted items to charity.

She works closely with local charities, such as Growbaby Truro ensuring that items find new, meaningful purposes. This philanthropic aspect of her work is not just a byproduct but a core component.

She invites charities to reach out to her, fostering a network where decluttered items are redistributed to those in need.

Her background in the high-pressure world of finance has equipped Victoria with a unique set of skills—stress management, strategic thinking, and an unyielding work ethic. It’s clear that this blend of corporate acumen and personal empathy makes her a formidable force in the realm of professional organising. “Making the move to Cornwall has seen a profound transformation in me as a person. It has reshaped my understanding of what success and fulfilment looks like. I’m no longer driven by financial gain alone, I now measure my success by the positive impact I can have on others’ lives.”

Victoria is a member of the Association of Professional Declutterers and Organisers: “It’s such a great community to be part of,” she says. “It’s a hugely supportive network (contrasting sharply with the competitive environment of the trading floor!) offering a refreshing change and a source of continuous inspiration.”

This story is a powerful reminder that life’s greatest challenges can often lead to its most meaningful transformations. Victoria brings light and order into the lives of those who need it most, proving that true luxury doesn’t always lie in material wealth but in the peace and comfort of a well-organised, harmonious home. “It is a practice that goes beyond aesthetics, fostering a sense of peace, purpose, and connection, which in turn allows my clients to live with intention and clarity.” byvictoriaclark byvictoriaclark.co.uk

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Meaningful

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

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R E T R E AT

In conversation with Wooda Farm Holiday Park, a family run business that has been welcoming visitors to its five-star farm since 1975.

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do. We believe in creating a welcoming environment where guests can experience the charm and tranquillity of Cornwall, just as our family has cherished for generations. This family-oriented ethos is reflected in our commitment to providing a personalised service, maintaining high standards of cleanliness and fostering a sense of belonging among our guests and staff.

rriving at Wooda enforces a slowing down from the frenetic pace of modern life. Set in 40 acres of parkland, close to the coastal town of Bude, visitors find that from the moment they arrive their shoulders drop and there’s an instant reconnection with nature and the simpler ways. Whether it’s a touring pitch, a luxurious lodge or a gorgeous holiday home, all benefit from some of the finest facilities in Cornwall and the Wooda team work tirelessly to create holiday options for all, encouraging quality time spent with loved ones in the countryside.

Can you describe some of the sustainable practices that have become a cornerstone of your operations and how these have evolved over time?

Sustainability is at the heart of our operations at Wooda. Over time, we have implemented a range of eco-friendly practices, from using renewable energy sources to minimise our carbon footprint, to encouraging guests to recycle and reduce waste during their stay. We have also invested in energy-efficient infrastructure, such as LED lighting and water-saving systems. Our commitment to sustainability extends to preserving the natural beauty

How has running a family business in Cornwall shaped the values and operations of Wooda?

Running a family business in Cornwall has deeply influenced the values and operations of Wooda Farm Holiday Park.

Our roots in the community inspire us to prioritise warmth, hospitality and a strong sense of family in everything we

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MADE IN CORNWALL – FOR OVER 35 YEARS

01209 215 759 | enquiries@philipwhear.co.uk | www.philipwhear.co.uk DRIFT--40--PCV55 Whear FINAL.indd DRIFT--36--PCV49 PRINT--AD--1.00--Philp PRINT--AD--Philip Whear--1.00 v2.indd 1 1

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R E T R E AT

of our surroundings, including the careful management of our land to support local wildlife and biodiversity. As we continue to evolve, we are exploring new ways to reduce our environmental impact, such as expanding our use of solar power and increasing our support for local, sustainable suppliers.

rewards far outweigh the challenges. We take immense pride in being able to share the beauty of Cornwall with our guests and in supporting our local community. The satisfaction of seeing families return year after year, creating lasting memories at Wooda, is incredibly fulfilling.

What are some of the unique challenges you face running a family business in today’s environment, especially in Cornwall?

How has the COVID-19 pandemic transformed your interaction with other independent Cornish businesses?

The COVID-19 pandemic underscored the importance of community and local collaboration.

During the pandemic, we made a concerted effort to support and collaborate with other independent Cornish businesses, recognising that we were all in this together.

This experience has strengthened our commitment to fostering these relationships and supporting the local economy in any way we can.

One challenge is balancing the demands of modern tourism with preserving the traditional values that define us. With more and more commercial businesses appearing around Cornwall, it can be tough to remain competitive, but we hope that our family values and drive towards sustainability help to set us apart from the rest. We are striving to challenge preconceptions, saying goodbye to the stereotypical crowded amenities and noisy entertainment and hello to a tranquil retreat surrounded by the natural beauty of Cornwall, alongside five-star facilities and some of the best accommodation options in the county.

What steps have you taken to create diverse holiday options that cater to different budgets?

At Wooda, we believe that everyone should have the opportunity to enjoy a Cornish holiday, regardless of their budget.

To that end, we have created a range of accommodation options to suit different

The seasonal nature of tourism in Cornwall can also be challenging, requiring us to be resourceful and adaptable. However, the

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TOP A place to retreat and relax

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R E T R E AT

needs and price points. From luxury lodges with stunning views to cosy caravans and camping pitches, we offer something for everyone. We also frequently offer special deals and packages to make our holidays even more accessible. Additionally, our onsite facilities are designed to provide value, with complimentary access to activities like our playground, nature trail and secure dog field, ensuring guests can enjoy a full holiday experience without breaking the bank.

onsite activities is our nature trail which also features some Cornish pixies who are hiding in the woodland. We hear lots of lovely stories from guests who remember taking part in the pixie trail when they were young, who have now returned with their own children to experience the magic!

How do you ensure that guests can disconnect and truly relax in the countryside?

Promoting quality family time is a key focus at Wooda. We offer a variety of activities designed to bring families together, including badminton and tennis and our outdoor play areas, where children can explore while parents relax nearby.

Additionally, our accommodation options are spacious and comfortable, providing the perfect setting for families to relax and connect after a day of activities.

We believe that the simplicity and tranquillity of our countryside setting naturally encourage families to slow down and enjoy each other’s company.

What measures have you put in place to promote quality time and meaningful interactions among families who visit?

We encourage our guests to embrace the natural beauty of our surroundings and take a break from their screens. Our park is designed to help people unwind, with expansive green spaces, woodland walks and breathtaking coastal views. We offer a variety of outdoor activities that invite guests to immerse themselves in nature, such as woodland walks, mountain biking trails and segway tours. For those looking to relax, our peaceful gardens and wooded areas provide the perfect setting for some screen-free downtime.

How important is the community and local collaboration and what initiatives are you involved in to support independent businesses in Cornwall?

Can you share any stories or feedback from guests who have had memorable experiences while staying with you?

Community and local collaboration are at the core of our philosophy at Wooda.

We understand that our success is intertwined with the prosperity of our local community. We actively support independent businesses by sourcing local produce for our on-site shop and food and

Our guests are at the centre of everything we do, and we are truly fortunate to have a very high proportion of guests returning to us year on year (a few of them since we opened in 1975!). One of our most popular

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CORNISH TAPAS | SHAWARMA | VIBRANT SALAD | WOOD FIRED PIZZA |

www.stmichaelsresort.com

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01326 312707

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R E T R E AT

a deeper connection with nature and local culture.

drink venues and featuring local artisans in our gift shop. We are also involved in initiatives that promote sustainable tourism, working with local organisations to preserve Cornwall’s natural beauty and cultural heritage. We also support many local charities, such as the RNLI and Bude Sea Pool. Our commitment to the community is ongoing, and we are always looking for new ways to support and uplift our local partners.

As more people seek out authentic, meaningful travel experiences, we believe that Cornwall’s natural beauty and rich heritage will attract visitors looking for more than just a typical holiday.

At Wooda, we see ourselves playing a significant role in this evolving landscape by continuing to offer high-quality, ecofriendly accommodations that respect and celebrate our natural environment. We aim to be a leader in sustainable tourism in Cornwall, providing guests with memorable experiences that highlight the best of what our region has to offer while also preserving it for future generations.

How do you foresee the future of tourism in Cornwall evolving, and what role do you see Wooda playing in this landscape?

The future of tourism in Cornwall is likely to see a continued emphasis on sustainability, quality experiences and

wooda.co.uk

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A B OV E Making memories at Wooda

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Handcrafted Lighting and Furniture

Made in Cornwall, England.

Showrooms in Falmouth and Chelsea Harbour www.tomraffield.com

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sales@tomraffield.com

01326 722725

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C UI SI N E

A new

DAWN WORDS BY TOM HANNON

Celebrating ten years at the heart of the city; Chef Patron Tom Hannon, of multi-award-winning gastro pub The Rising Sun, delivers a selection of his flavour-led, indulgent dishes.

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therisingsuntruro.co.uk

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C U I SI N E

Chorizo Brioche A rich, indulgent bread, very versatile; a decadent treat to break bread before a meal or delicious as a loaf to pull apart and enjoy with a hearty stew or casserole.

MAKES EIGHT TO TEN ROLLS OR ONE MEDIUM LOAF.

For the onion compôte:

INGREDIENTS:

1 tbsp rapeseed or vegetable oil

For the dough:

2 medium onions, sliced

300g strong bread flour

130g chorizo, sliced into matchsticks 10 sprigs thyme, leaves only

150g butter at room temperature 25g caster sugar

50g parmesan, grated

10g fresh yeast

For the egg wash:

3 medium eggs

1 medium egg

6g salt

Splash of milk

METHOD 5mm thickness. Sprinkle the onion compôte mix evenly over the surface and add the grated parmesan on top.

Take all the dry ingredients for the dough and mix together using an electric mixer.

Once the dry ingredients are combined, add the eggs. Mix until the eggs are combined and add the butter. Once the dough has come together, remove the bowl from the mixer and cover with a damp cloth. Leave to rest in the fridge for five hours.

Roll the dough up into a sausage (think jam roly poly) and cut into approximately 5cm slices. Place the portions into greased circular dress rings/moulds so you can see the swirl of the onion compote on top. Eggwash the tops and then place on a baking tray and cover with a damp cloth. Keep them in a warm dry place until the dough has doubled in height (when in dress rings), or doubled in size if making a loaf. Bake at 160°C for 16 minutes.

Sweat off the sliced onion, chorizo and thyme on a medium heat in the rapeseed oil, constantly stirring, until the onions are soft and a light golden brown in colour. Remove from the pan and place on kitchen paper to drain the excess oil. Remove the dough from the bowl and roll out flat, to approximately a

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C UI SI N E

Herb Gnocchi SERVES 4

10g salt

INGREDIENTS:

10g chives

300g dry mash potato (approximately six medium potatoes)

10g parsley

90g Italian ’00’ pasta flour, sifted

To serve:

60g parmesan, finely grated

Beetroot

1 whole egg yolk beaten

Six baby leeks

METHOD a long sausage, of desired shape and size.

Cut into pieces and pinch in the sides and gently squash the tops with a fork leaving an indentation of the prongs.

Wash the potatoes with skins on and place onto a baking tray of salt and bake for 1 hour at 180°C or until cooked through. Once cooked, cut the potatoes in half and scoop out the soft potato discarding the skins. Pass the scooped potato through a moulin or fine drum sieve.

Transfer the gnocchi pieces to a deep pan of hot seasoned water left on a moderate heat but not boiling. The gnocchi will sink, then after a few minutes float to the surface. As they do, lift them out into ice water, then drain and gently dry on kitchen paper

In a bowl, weigh out the correct amount of mash. Whilst the mash is still warm, light and fluffy add the flour, parmesan and salt, saving a little of the flour for rolling. Using only your fingertips, mix the flour, parmesan and mash together forming a breadcrumb like mixture. Add the beaten egg yolk and work into the mash in the same way until a smooth dough has formed. Be careful not to over work the mixture as it will become tough and elastic.

Finely slice some beetroot (on a mandolin if you have one) and deep fry for 4 minutes on 140°C degrees. Add some butter to a pan and fry the gnocchi on a medium heat until golden brown Slice and blanche six baby leeks. To serve, delicately layer the baby leeks, gnocchi and beetroot crisps. To elevate an already elegant dish, add some fresh truffle.

With the saved flour, dust a work surface and in batches carefully roll the gnocchi mix into

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C U I SI N E

Chocolate and Stout Cake SERVES 12 INGREDIENTS:

150ml yogurt

250ml stout

175g plain flour

250g butter

2 1/2 tsp bicarbonate of soda

200g caster sugar

2 eggs

100g dark sugar

35g cocoa

METHOD the sieved flour, cocoa and bicarbonate of soda on a low speed. Finally add the melted chocolate

Pre-heat the oven to 180°C and line a baking tray or roasting tin with greaseproof paper.

Melt the chocolate on a bain marie or use a bowl placed over a pan of boiling water, ensuring the bowl is not touching the water.

Cream the butter and sugar with an electric mixer, then add the eggs and continue to mix. Add the yogurt and the stout and then

Bake at 180°C for 40mins. Place on a wire rack and once cooled, cut into squares. Serve with vanilla ice cream and pouring cream for an indulgent dessert.

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therisingsuntruro.co.uk

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Join the

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

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B I J O U X

From the depths of the ocean, a Cornish dive watch is taking luxury aesthetic and rugged practicality to new heights.

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him, where the pair formed dive brand fourth element.

he story of dive brand, fourth element begins on Cornwall’s western-most tip, a place where the sea and its shores define life.

Paul Strike grew up surrounded by family who had an affinity with the sea; whether that be Uncle John, the local fishmonger in his home village of Porthleven or generations of Strikes who volunteered for the Coastguard. Exposed to diving at the tender age of 12, Paul’s passion for the ocean was ignited, but as his interest grew, he realised that, while surfing was well-catered for in terms of equipment, the dive industry was sadly lacking in both technical and lifestyle kit.

While the beginnings of the business were humble, their foresight and ambition were everything but. They began by sourcing fabric technology for a base layer; their aim, to make a garment so good that every diver worth their salt would want one. Influential members of the world’s dive community gave their seal of approval at an early stage, and 25 years on, the brand has now been adopted globally by the dive industry. Fourth element technical clothing and drysuits are used in some of the most extreme places on earth and it’s the brand of choice for leading dive teams, including the FBI and the British Special Forces.

A dive trip to Egypt with friend, Jim Standing, made the pair realise that not only did they share a passion for the ocean, but that they had both identified a gap in the market for a dive brand that could produce high-performing technical kit, while at the same time fostering a lifestyle brand identity that would offer a community to those with a similar passion across the world. Paul relocated back to his home county in 1999, bringing Jim with

Everything at fourth element is underpinned by their ethos to be OceanPositive; a term coined to represent the business’ approach to sustainability, which runs from product and packaging to their professional practice. For example, several lines in fourth element’s OceanPositive range is made with

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B I J O U X

for its durability, but also for its sleek appearance, making the watch as suitable for a deep-sea dive as it is to wear to dinner.

ECONYL® nylon that is made from a combination of recycled ghost fishing nets and other waste nylon products; while their Rec Fins are made from consumer and industrial plastic waste with the equivalent of approximately 120 plastic bottles rescued from waste streams in every pair of fins.

The pelagic is water resistant to 500m, a depth out of most divers’ range, only ever approached by professionals. The helium escape valve, positioned on the watch case opposite the engraved crown, allows the safe release of gases accumulated during long dives, making this watch as functional as it is aesthetic.

Fourth Element has achieved global reach, not least due to its directors Paul and Jim always pushing the boundaries of possibility, all while maintaining a love and respect for the ocean. Such growth could have seen them relocate to a more central UK location, but they have stayed true to the brand’s beginnings with the fourth element head office and warehouse remaining in Helston, Cornwall.

The pelagic is unashamedly rugged in its appearance, yet carries a sophistication that comes from an understated elegance in design. The sapphire crystal is scratch-resistant and anti-reflective, ensuring clarity in all conditions and the watch also comes with an interchangeable strap system, offering a choice between a stainless-steel bracelet for a more formal look and a rubber strap for more practical use.

As a business, it continues to innovate and expand with an agility that sees new and exciting products coming to the fore on a regular basis. The latest being a luxury dive watch, the first of its kind to come from a Cornish company.

The pelagic, named after the unexplored zone of the open ocean that covers more than half of our planet, combines intricate engineering with an understated yet elegant design. With 26 jewels, the pelagic has a visible Swissmade automatic movement, ensuring precise timekeeping even under the most challenging conditions. Every detail has been designed to meet the demands of serious divers while maintaining the elegance expected of a luxury timepiece.

The watch is encased in a lightweight brushed steel, a material chosen not only

The intricacy of the hand built Swiss movement adds elegance and intrigue, thanks to the crystal watch back, revealing the simply engraved movement inside, making this more than just a dive watch. As with all fourth element products, branding is considered and minimal, yet visible enough to show that the wearer is part of a dive community born on Cornish shores. The pelagic is no ordinary dive watch; it’s a statement for the modern explorer, designed by the sea, for adventures on the edge of the world. driftjournal.co.uk/the-pelagic fourthelement.com

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A C R E AT I V E AG E N CY

Architecture & Interiors

0203 576 022 1

WATERSH EDD.COM

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A sense

of PLACE 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

Perfectly imitating the relationship between light and water, the work of Andrew Giddens not only wields the spirit of Cornwall, but also an otherworldly atmosphere of movement and luminosity.

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top galleries around Cornwall, including Beside the Wave amongst others. In 2016 Andrew went solo, exclusively painting and selling from a rustic converted cow shed in Perranuthnoe.

apturing the essence of the Cornish coast is something many artists strive to achieve, with years of practice needed to reach that goal. Andrew Giddens has been painting the coastline since the mid 90s and has since become a household name in impressionistic seascapes. Andrew is based in west Cornwall and lives with his family and dog and has a gallery/studio in Perranuthnoe, near Mount’s Bay.

Andrew describes his technique as constantly evolving, working mainly in thick impasto oils. His work spans a range of sizes on canvas, but he has been inspired in recent times to paint larger pieces. His originals consistently show use of impressionistic mark making with the thick use of oils, creating unique depth through texture and layers.

After studying at Falmouth and Bournemouth art colleges, Andrew’s popularity and name spread quickly after a few of his pieces were purchased by Sir Tim Rice: “He is a worthy addition to the great and long-established line of artists from this wonderful county.” Over the next ten years he showcased and exhibited in

PREVIOUS ‘Godrevy Shallows’ (detail)

Consistency of subject is vital for Andrew and a key inspiration for developing his work. He will often paint his old haunts countless times, hallowing the locations he has spent the most time in and

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INSET Andrew Giddens

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TOP ‘Perran Sands’

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TOP ‘Summer Blue’

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A B OV E ‘Summer Surf ’

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TOP ‘Through The Veil’

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A B OV E ‘Towards the Mount’

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C R E AT E

his goal, the sea being imitated ever more authentically. Like a fine wine, Andrew’s work is now culminating into a season of maturity, the fruit of this we believe will bear his finest pieces of art thus far – a crescendo of creativity.

endeavouring to capture their essence. He strives to create an increasingly defined impression of place. He goes on to tell us that this, primarily, is how his style and technique has developed over the past 25 years. Andrew is a keen surfer and you will often find him out in the waves, a technique he names ‘research’ gives him a unique perspective on the waves, trying to truly learn as much as he can about the nature of the sea and coastline, before returning to his studio to paint.

In 2022, Andrew started a partnership with Cornish Art, a contemporary art gallery in Porthleven. Establishing his return to exhibitions, the gallery presented Trenow, a captivating series of acrylic paintings based around Andrew’s dog walks at home.

This featured over 20 paintings capturing a true sense of place, not only a retrospective nod to his previous exhibitions, but a progressive development of medium and colour.

Over the years Andrew has cultivated a creative workflow that pairs experience in nature and experience in the studio, taking time to be inspired and absorbed by his environment, then reflecting it in paint. He explains that his entire creative journey revolves around a desire to do the Cornish coast justice, to capture its real, wild and genuine nature. Each and every painting he creates refines his techniques; learning, growing and evolving. Every painting he completes brings him closer to

His current and future works will be available through Cornish Art in Porthleven and from his studio in Perranuthnoe. andrewgiddens.co.uk cornish-art.co.uk

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INSET ‘Godrevy Shallows’

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Taking

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

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SU STA I N

Puffin Island, at The Cornish Seal Sanctuary, is providing the only habitat in the UK to house rescued Atlantic puffins, who are facing numerous threats to their population numbers.

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ntil now, puffins have only been visable in the wild in limited conservation areas. Today, ten non-releasable rescued puffins rehabilitated by sister Beluga Whale Sanctuary in Iceland, have been carefully transported to their new home at the Cornish Seal Sanctuary in Gweek.

Atlantic puffins face numerous threats to their population numbers, from fish stock depletion (predominantly sandeels), predation from invasive rats on their eggs and chicks, oil spills, climate change and the recent concern of avian influenza. The Cornish Seal Sanctuary plans to educate visitors on the’ plight of the puffin’ and encourage conservation efforts by providing information through educational talks and workshops. “We can help motivate people to make small adjustments in their daily habits – resulting in a beneficial outcome for our climate. By working with other likeminded organisations and government bodies, we can assist with implementing guidelines and policies to help enforce crucial change to help protect our vulnerable marine ecosystem,” explains Helene Weston, the sanctuary’s marketing manager.

The island of Vestmannaeyjar, where the Beluga Whale Sanctuary is located, is home to the largest Atlantic puffin breeding colony in the world.

The sanctuary rescues, rehabilitates and releases around 60 injured and oiled puffins every year.

However, there are a few that cannot be released back into the wild due to the severity of their injuries and their inability to fend for or feed themselves. It is these puffins that have been relocated to the Cornish Seal Sanctuary to be cared for and to create space to allow their sister sanctuary to continue its vital rehabilitation work in Iceland.

“All of our puffins have unique personalities, each one having their own little habits and

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A B OV E Puffin Island

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TOP Atlantic puffins getting to know their new Cornish home

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SU STA I N

poor vision and mobility issues. We also give them a daily supplement to promote the growth of smooth, glossy feathers and strong bones,” adds Helene.

routine. For example, our paired puffin couple Thor and Freyja can be seen sitting and billing together most days. Billing is a courtship behaviour where puffins rub their beaks together, and these two puffins love to bill. Karen, our oldest resident, is an avid diver, she loves to be in the pool, swimming laps around the others, and can be seen dropping her fish in the pool so she can dive down and get it. Puffins can dive up to 60 metres for their fish, making Karen quite the professional! Tyr is our most adventurous puffin, he loves to be up high in the exhibit, moving up the rock faces and then launching himself into the air. Tyr is an excellent flyer, flapping his wings up to 400 times a minute! His landing however could use some work.”

Atlantic puffins are also native to Cornwall where they are sadly classified as endangered and included on the red list as a species of concern in the UK. The Cornish Seal Sanctuary hopes that the presence of these characterful birds will help them with their education programme, giving visitors a rare opportunity to engage with these captivating seabirds up close, as Head of Sanctuaries for the SEA LIFE TRUST Jana Sirova explains: “The arrival of these rescued puffins from our sister SEA LIFE TRUST Beluga Whale Sanctuary in Iceland marks an incredibly exciting milestone for us. These charming seabirds have captured our hearts, and we’re honoured to provide them with a safe and loving home here in Gweek. By showcasing the ‘plight of the puffin’, we hope to raise awareness about the challenges facing these endangered birds and inspire action to protect them.

Our aim is for these puffins to become ambassadors for their species, fostering a deeper understanding and appreciation among our guests. We can’t wait for everyone to come and meet our newest residents, learn about their journey, and join us in our mission to safeguard the future of these captivating seabirds.” It’s not just the puffins that are in the spotlight

The sanctuary has had to adapt to care for their new residents.

“We strive to meet the needs of our residents in every capacity. Some of the challenges our puffins face includes waterproofing issues, problems with joints and sight loss. When preparing for the arrival of the puffins it was important for us to make sure we could create an environment where each individual animal could live without limits.

We created an enclosure with open air access so they can dry their feathers with the help of the Cornish sunshine, as well as installing heat lamps in their nest box area for use during the winter. Our pool was built with accessible ramps to aid access to the pool, for those residents with

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INSET Odin

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SU STA I N

at The Cornish Seal Sanctuary. Visitors can expect to see seal pups constantly moving through the rehab process from hospital to nurseries and on to the final stages of rehab and then release. “We keep pups moving through the process to not only keep them as wild as possible, but also to give them the best chance of survival while making space for other pups that need help,” explains Helene. “You will see pups learning to feed for the first time on their own, getting regular weighing sessions to ensure they are gaining weight, learning to dive for fish, and learning vital social skills whilst they make friends with other seal pups at the same stage of rehab. The skills pups will learn whilst with us are all aimed at helping them when they are released back home.”

“We never know when our first pup of the season will arrive,” adds Helene. “This season we started early and our final hospital repairs were not yet completed – pup season teaches us to be prepared for anything as they can arrive with many different ailments and health concerns.

“The team have to be great at spotting tiny subtle changes in behaviour or symptoms to ensure our vets have all the information to give the pups the best chance of survival. Although we can’t save all the pups, the biggest reward is to see a pup turn a corner because of the efforts the team have made, and of course the eventual release is the best feeling of all and why we all do this work. Over the past couple of years, we have focused on one of the biggest threats facing seals in Cornwall, and this is disturbance, which has more than tripled in the last ten years.”

Pup season varies in different areas – the Cornish Seal Sanctuary takes pups in between August and March – but whenever it occurs, disturbance is always a concern.

They will often be left by their mums safely high above the high tide mark, which allows the mum to go back into the sea to feed herself as in turn the pups need feeding regularly to ensure their best chance of surviving the critical weaning period. Even just a few missed feeds can be the difference between life and death for a seal pup. While it may look like these young seals have been abandoned, the mum will often be keeping a watchful eye from the water. If you encounter a seal pup alone on a public beach, the advice is do not approach or touch it, and to keep at least 100m away. Owners are advised to remain vigilant while walking their dogs on beaches, especially where there are secluded shores and caves, as mother seals and their pups may be present.

Through their campaigns and workshops, The Cornish Seal Sanctuary encourages people to follow best practise. In most cases, disturbance occurs when humans are too visible, too close and too loud.

Spending time near or in the sea, sharing the environment with wildlife, comes with a responsibility to be respectful and show good practice.

If you are concerned about a pup the Cornish Seal Sanctuary and BDMLR can be contacted for advice and assistance on 01326 221361 or 01825 765546 respectively. sealsanctuary.sealifetrust.org belugasanctuary.sealifetrust.org

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TOP LEFT Jennifer Aniston

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A B OV E Muffy

TO P R I G H T Emelia Clarke

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Tipping the

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C R E AT E

The inner world of Arthur Lanyon’s paintings combines intuitive motifs with an emotive, gestural, abstracted language.

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seem to blow around like autumn leaves caught in an updraft. In their midst is a larger vertical form. Comprising blocky, connected elements, it appears to be leaning gently forward as if to resist the enveloping turbulence. What if that dominant shape is standing in for a figure?

hen he decides to start another painting, Arthur Lanyon crosses the threshold between two aspects of his life. He leaves the home that he shares with his young family and enters his studio. Those two aspects are not compartmentalised. The interplay between real and invented, personal and public, the observed and accidental is apparent in his compositions.

The sighting is not positive because, with this painter, shapes and colours can have multiple readings simultaneously. The title does not help confirm suspicions.

And the pretend space of the painting is a playground for diverse impressions and interpretations. So ‘what ifs’ are allowed in the search for significance, even though the search will always be more fantastical than definitive.

When applied to art, abstraction implies a foothold in the world we experience, even if evidence of it is hard to recognise.

Lanyon, as a spirited exponent of abstract art, integrates the figurative world with the swirling climate of marks, colours and mute motifs, signs that seem to belong to a reality all their own. His painting fizzes out of the combination.

So, what if the dark-haired and bearded artist himself has somehow set foot in his own construction? The form even appears to wield a stick that may be seen in some lights as a brush. Art history is full of selfportraits of artists at work in their studios.

Rembrandt’s famous version from about 1628 is only one of the most famous. The Dutch master depicted himself standing

In Waystation, a small recent painting on panel, a gritty, greyish texture combines oil, acrylic, watercolour and charcoal into a collage of unsettled atmosphere. Irregular black-edged, boxy shapes containing patches of yellow, green, red and black

OPPOSITE Detail of ‘Edge of Whiskers’, 2024

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C R E AT E

seems especially appropriate to Lanyon: the pacy structures in his paintings seem to trace electric flows and polarisation akin to brain activity.

in an empty room, facing the easel. It blocks his path to the door and everyday life outside. Tellingly, rather than depict the act of creation, Rembrandt focuses on the daunting expectations of the surface to be painted.

He describes his studio in the countryside outside Penzance as a polytunnel. With a vaulted translucent roof made with an arching metal frame, it deserves that comparison. Sheets of polythene and plastic admit ample natural light only partially obscured by supplies of wood, plastic and canvas that Lanyon stores overhead. The studio is ground zero.

From within its walls, he has captured the attention and imagination of a growing

Arthur Lanyon will know that predicament. For him, as for most artists, the studio is a special place – a laboratory, retreat, prison. Maybe it is the nearest a human can get this side of psychiatry to inhabiting her or his own mind. Inside, neural fibres can almost be heard to snap across a synapse to release the positively charged ions of creativity. The metaphor

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A B OV E A view of Arthur Lanyon’s exhibition at Anima Mundi, St Ives, with ‘A Moon with a View’, 2024, on right

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TOP ‘Rattle’, 2024, oil stick, acrylic, spray paint, charcoal, collage on panel, 47 x 62 cm

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A B OV E ‘Waystation’, 2024, oil, acrylic, watercolour, charcoal, collage on panel, 47 x 62 cm

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C R E AT E

audience with his expressive production.

Since 2016, he has exhibited with Anima Mundi gallery in St Ives. A photo feature in the weekend edition of the Guardian national newspaper accompanied his last solo exhibition there, two summers ago.

Although his work is most often seen in his native West Cornwall, opportunities have also occurred in recent years in London, continental Europe and Mexico.

they come to appear at that point in the work. He speaks animatedly about a deep black paint he has discovered. A copper chromite spinel mixed into linseed oil, it gives him the viscous matte finish like slate that enriches a distinctive feature of his pictures for several years.

The diversity of Lanyon’s marks offers one path into interpreting his work. It is not unknown for the artist to invite visitors to add their marks as well; his children certainly contribute from time to time.

Linear shapes are the building blocks of his visual language, weaving over and through images “like trails of a hungry snail”, he says. That vivid indication of Lanyon’s eclectic inspirations may offer a way into one large painting on linen, called Snail’s Pace. The surface is traversed by pathways unsure of their destination. Neutral tones of white, grey and black prevail. Loaded with streams, strings and sequences, the image all but banishes colour into ethereal traces of the primary hues Lanyon enjoys.

Lanyon’s practice is physical. In summer, the studio is hot and draughts are scarce; and its location means that winter’s northwesterlies whistle across his workspace.

But, as he points out, at least he can stand to his full height indoors. A previous studio was so low that he knelt for much of the time on wood pallets. His knees complained vehemently. Then luck, of a sort, intervened and he moved his archive of existing paintings, his equipment and his growing family into new surroundings.

Or not exactly new but the house he had grown up in. Built by his parents, it was now vacant.

“Decisions have to be dealt with materially,” he says. ‘I mix lots of media and pressures of application so it helps to understand the properties of the substances I use.

Otherwise, things will crack and fall off.”

For instance, pigments have different drying times and mixing media into one image calls for a fabric support strong enough to take constant, vigorous working.

Lanyon choses a hard-wearing, coarse

“Painting,” Lanyon said a few years ago to Joe Clarke, the owner of Anima Mundi, “is like having two reciprocal minds.

You direct but also take direction back and forth.” Painting emerges from his commitment to materials. Talking about individual pieces he has made, he navigates the tussle of lines and flashes of colour with references to the paints he uses and how

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a first from art school in Cardiff, he had studied the radical theories of twentiethcentury art, especially Cubism. The visual style pioneered by Picasso and Georges Braque, it proposed a new reality that depicted radically fragmented objects. But he also looks for ideas from the deeper past. Sources can be surprising: his latest, crowded canvases recall the technical artistry of Japanese woodblock prints from the nineteenth-century, distinguished by the intricate structure of colour gradients.

linen for his biggest compositions. They often combine oil paint, acrylic and primer, spray paint, xylene marker pens, solvents as well as charcoal dust. He collages cloth and paper and regularly applies an all-over thin red wash with a cloth. That leaves a subtle red stain in bright colours, preventing them from becoming too “pretty”.

He also rigorously edits and alters. After hauling a large expanse of unstretched canvas into his garden, he erases passages of work with an orbit sander. Or he will sand out areas of paint to aid the overall balance of light and dark, colour and space in the emerging composition. Time is also set aside for turning the pages of books, sifting through drawings or reflecting on the previous day’s progress.

He is alert to the dynamic advances of modern painting. Graduating in 2008 with

Lanyon was born in Leicester. But his heritage is in west Cornwall – and deeply rooted in art history. His grandfather was Peter Lanyon, justifiably acclaimed as one of the most important painters in postwar Britain. A leading figure in what has come to be known as the St Ives School (although the artists associated with it recognised no such coherent group), he adapted the expressionist trend in abstract art towards forms and gestures inspired by the landscape and climate of West Cornwall which he knew intimately from walking, cycling, swimming, caving and, ultimately, gliding.

Arthur Lanyon’s father Matthew, however, held back from pursuing art, studying geology at Leicester university and practising joinery. Within two years of his arrival in 1985, Arthur and his parents were living in Cornwall. Moreover, Matthew was now painting, assimilating his own father’s influence into his own

TOP Arthur Lanyon and his son, Rory, in the studio.

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A B OV E L E F T ‘Timbras’, 2024, oil stick, charcoal, collage on panel, 62 x 47 cm

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A B OV E R I G H T ‘Tripletta’, 2024, oil stick, charcoal, collage on panel, 62 x 47 cm

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TOP ‘Quartz Crash’, 2024, oil, oil stick, spray paint, charcoal, graphite, collage on linen, 180 x 273 cm

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A B OV E ‘Snail’s Pace’, 2024, oil, acrylic, charcoal on linen, 190 x 260 cm

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TOP ‘A Moon with a View’, 2024, oil, oil stick, charcoal on linen, 400 x 190 cm

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A B OV E ‘Edge of Whiskers’, 2024, oil, oil stick, acrylic, spray paint, charcoal on linen, 190 x 260 cm

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C R E AT E

Somehow, the situations he paints strikes a chord with each onlooker’s own experience.

Like his grandfather and father, Lanyon paints sensations. Unlike them, his attention is concentrated on the process of painting instead of on the land. Through action he makes contact with the inner energy of intellectual and emotional life.

Sometimes colour expresses those feelings directly. Asked to describe the purpose he attaches to the colour orange, he candidly replies, “psychedelics, an optical buzz. It’s used sparingly; it can take a week for an image to settle and rock.”

semi-abstract paintings indebted to his home environment. Every day began with drawing and painting with his son, in the days before Arthur went to school. Memory and past experiences are important sources for this latest Lanyon to join the art scene.

His childhood drawings are also a starting point. He likes to connect with the intuitive graphic skills of very young people because their exciting directness defies adults’ cautious rationality.

Indeed, for one large painting called A Moon with a View, Lanyon borrows a tree from a drawing by his small son, Rory.

Elaborated into a multicoloured canopy of chopped together reds and greens, it appears at the top edge of the canvas.

Unable to fit an owl hole into the slender trunk he had drawn, Rory sketched a circle on the vacant paper beside it, setting the hole loose to float on the page. The curious logic of that solution fired Lanyon into a composition of his own. A chain reaction followed that gave expression to his natural good humour, an asset as strong as the formal nimbleness of his drawing.

The nearest comparison to the febrile agitation of a painting like the recent Quartz Crash is the helter-skelter, discontinuity of the trip back to waking from anaesthesia.

A panoply of effects is put on display.

Drawing swings cinematically from colour to monochrome like flashbacks in film.

Indecipherable shapes hurtle this way and that across the surface of the canvas, intercut with the rapidity of marks that revs like a motorcycle engine. Time is bent and space is shallow. Like Rembrandt’s easel in his studio, this canvas blocks the door and, with it, access to the exits.

Giving insight into his own approach, Lanyon quotes the influential contemporary American painter, George Condo, who once described the brushstroke of fellow American Jackson Pollock as “like a caveman scratching at the wall of his own mind.” The line stands out as relevant to Lanyon because his paintings burrow into his consciousness and that of his audience.

Arthur Lanyon’s exhibition, A Moon with a View, is on view at Anima Mundi, Streetan-Pol, St Ives, from 19th July to 31st August 2024. All images © Arthur Lanyon and courtesy the artist and Anima Mundi. animamundigallery.com

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