DRIFT 48

Volume No48 £10.00

The spaces

IN BETWEEN

Where the rhythm of the landscape is revealed and life is unexpectedly found

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Refresh after the beach DINE

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Explore St Michaels Resort, footsteps from Gyllyngvase beach

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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

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Volume No48 £ 1 0 . 0 0

The spaces

IN BETWEEN

Where the rhythm of the landscape is revealed and life is unexpectedly found

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On the cover Convergence – Jethro Jackson, 2025 Oil on canvas 120cm x 70cm As featured from page 72.

jethrojackson.com projectstwentytwo.co.uk

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31/07/2025 14:41

T E A M

Foreword There’s a richness in the layers we almost overlook.

The shimmer beneath glaze, the ghost of charcoal under paint, the shadow stitched into lining. What appears on the surface is often not what it seems. A brushstroke carries more than colour; a cut of cloth more than form; and a dish more than its visual appeal. We are drawn to the gestures behind the finished piece, to the subtle interplays of texture and taste. The in-between is not a gap but a ground where materials meet meaning and where intention slips into interpretation. To look between is to reframe the act of viewing itself. It’s to understand that meaning isn’t always at the centre, rather that it often lives in the margins, in reflection, in repetition. When we train ourselves to look beyond the immediate, the world reshapes itself: a dish reveals its geography; a textile, its ancestry; a canvas, its underpainting of doubt, decision and desire. We start

to read not just what is presented, but what is withheld and deliberately left unsaid. The act of viewing becomes a layered experience, rich with association and nuance.

A recent, specially commissioned art collection (27) that graces the home of John and Sharan Stoker is testament to this. Curated by Ylenia Haas, the pieces simultaneously complement and contrast architectural features, carrying with them a creative connection.

Jethro Jackson’s new work (72) embodies a similar philosophy – that of hiding in plain sight. A first glance at his paintings takes in colour and texture, but look deeper and animals emerge along with the shadows of previous versions and it is these layers that hold our gaze. DRIFT Journal does not chase the overt, it seeks resonance. In this volume, we map that quiet force that shapes creative work – the unseen, the halffelt, the almost-missed – and invite you to join us.

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LESQUITE | BODMIN | GUIDE PRICE £1,100,000

LESQUITE FARM OFFERS AN EXCEPTIONAL LIFESTYLE OPPORTUNITY, COMBINING COMFORTABLE FAMILY LIVING WITH INCOME POTENTIAL, ALL IN A PICTURESQUE COUNTRYSIDE LOCATION NEAR BODMIN MOOR AND THE STUNNING CORNISH COASTLINE.

SEA ESTA | ST IVES | OIEO £650,000

SEA ESTA IS A STYLISH AND COMFORTABLE THREE-BEDROOM DETACHED HOME, SET IN AN ELEVATED AND PEACEFUL POSITION ON THE SOUGHT-AFTER WHEAL VENTURE ROAD IN ST IVES. OFFERING A HIGH STANDARD OF FINISH THROUGHOUT, THIS PROPERTY PROVIDES MODERN COASTAL LIVING WITHIN EASY REACH OF THE TOWN AND BEACHES.

Cornwall Branch 01872 261160

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SEAGAZEY | ST AGNES | GUIDE PRICE: £1.25M SALE AGREED

A STUNNING FOUR-BEDROOM COASTAL HOME WITH PANORAMIC SEA VIEWS FROM BOTH UPSTAIRS AND DOWNSTAIRS, VERSATILE OUTBUILDINGS AND GENEROUS GARDENS IN SOUGHT-AFTER ST AGNES.

MILL COTTAGE | KEHELLAND | GUIDE PRICE: £1.2M

SITUATED IN THE TRANQUIL HAMLET OF MENADARVA, MILL COTTAGE IS A CAREFULLY RESTORED 19TH-CENTURY RESIDENCE SET WITHIN OVER TWO ACRES OF RIVERSIDE GARDENS. ORIGINALLY TWO MINERS’ COTTAGES, THE PROPERTY HAS BEEN RENOVATED, WITH THE ADDITION OF A DAVID SALISBURY ORANGERY AND SOPHISTICATED ITALIAN MARBLE FLOORING.

cornwall@jackson-stops.co.uk

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Tredannick Farmhouse, Sladesbridge £935,000 GUIDE

A classic picture perfect detached farmhouse in an area of great landscaped value, ideally positioned on the edge of the bustling market town of Wadebridge.

To be sold for the first time in four decades with no onward chain is this picture perfect four bedroom detached farmhouse located in a tranquil rural position on the edge of the bustling market town of Wadebridge.

Tredannick Farmhouse retains a wealth of character and originality in abundance, tucked away privately within approximately 0.5 acres of gardens and grounds bordered by miles of open farmland.

01841 532555 sales@jackie-stanley.co.uk Jackie-stanley.co.uk 1 North Quay | Padstow | Cornwall | PL28 8AF

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Kai Kai Tak,Tak, Polzeath Polzeath

Sandy Sandy Corner, Corner, Rock Rock

Offers Offers Over Over £2,950,000 £2,950,000

Guide Guide Price Price £2,950,000 £2,950,000

moments moments from from Porthilly Porthilly Cove, Cove, thisthis A striking A striking 5-bedroom 5-bedroom contemporary contemporary property property JustJust substantial substantial 4-bedroom 4-bedroom property property enjoys enjoys lovely lovely designed designed to make to make thethe most most of the of the stunning stunning estuary estuary views. views.

Sandy Sandy Corner Corner is surrounded is surrounded by by seasea views. views.

Kai Kai Tak Tak combines combines a high a high level level of of an established an established south-facing south-facing garden garden of approx. of approx. specification, specification, withwith a jacuzzi, a jacuzzi, gym, gym, surfsurf store store 0.35-acres, providing providing immense immense privacy. privacy.

With With andand landscaped landscaped garden, garden, creating creating an extremely an extremely 0.35-acres, driveway parking parking andand twotwo garages, garages, thisthis spacious spacious luxurious luxurious coastal coastal home. home.

TheThe property property alsoalso hashas driveway property alsoalso offers offers excellent excellent scope scope for for approved approved planning planning for a for one-bedroom a one-bedroom annexe annexe property renovation renovation or redevelopment, or redevelopment, subject subject to planning. to planning.

– PA16/03948.

– PA16/03948.

Slatewater Slatewater & Backwater, & Backwater, Polzeath Polzeath

TheThe Cottage, Cottage, Daymer Daymer BayBay

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Guide Guide Price Price £2,695,000 £2,695,000

Guide Guide Price Price £2,250,000 £2,250,000

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A pair A pair of contemporary, of contemporary, detached detached properties properties set set in an in elevated an elevated position position both both withwith far far reaching reaching seasea views views across across thethe Polzeath Polzeath beach beach andand thethe Cornish Cornish coast. coast.

Designed Designed andand finished finished withwith meticulous meticulous attention attention to detail, to detail, andand decorated decorated withwith style style andand flair,flair, Slatewater Slatewater andand Backwater Backwater offer offer flexible flexible accommodation accommodation withwith six bedrooms, six bedrooms, private private parking, parking, garden, garden, andand outdoor outdoor showers. showers.

TheThe Cottage Cottage is a is well-presented a well-presented 4-bedroom 4-bedroom family family home home set set in ain large a large west-facing west-facing garden, garden, enjoying enjoying seasea andand estuary estuary views views from from thethe firstfirst floor floor sitting sitting room room andand bedrooms. bedrooms.

LessLess than than a minute’s a minute’s walk walk to Daymer to Daymer BayBay beach, beach, thisthis lightlight filled, filled, modern modern house house offers offers open open planplan living living andand a generous a generous garden garden withwith wraparound wraparound terrace terrace to soak to soak up Cornwall’s up Cornwall’s sunsets sunsets andand fresh fresh seasea air. air.

S l D f t a

johnbrayestates.co.uk johnbrayestates.co.uk | 01208 | 01208 862601 862601 | sales@johnbrayestates.co.uk | sales@johnbrayestates.co.uk Pavilion Pavilion Building, Building, Rock Rock Road, Road, Cornwall Cornwall PL27PL27 6JU6JU

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Lancefield Lancefield House, House, Padstow Padstow Guide Guide £2,995,000 £2,995,000 Situated Situated on St onSaviours St Saviours Lane, Lane, close close to Prideaux to Prideaux Place, Place, Lancefield Lancefield House House is an is elegant an elegant Grade Grade II II listed listed Regency-style Regency-style home home situated situated a short a short walk walk from from thethe harbour harbour andand all the all the local local amenities. amenities.

Dating Dating back back to the to the 1840s, 1840s, thisthis beautifully beautifully appointed appointed 4-bedroom 4-bedroom home home is arranged is arranged overover three three floors floors withwith thethe benefit benefit of aof large a large basement, basement, used used as aas wine a wine cellar cellar andand store, store, withwith potential potential to be to further be further enhanced. enhanced.

Elevated Elevated on its onplot, its plot, Lancefield Lancefield House House enjoys enjoys estuary estuary views views looking looking across across a magical a magical andand established established garden, garden, along along withwith a garage a garage andand driveway driveway parking. parking.

johnbrayestates.co.uk johnbrayestates.co.uk | 01208 | 01208 862601 862601 | sales@johnbrayestates.co.uk | sales@johnbrayestates.co.uk Pavilion Pavilion Building, Building, Rock Rock Road, Road, Cornwall Cornwall PL27PL27 6JU6JU

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C O N T E N T S

At a glance 15 P A S T I N T O P L A C E

72 H I D I N G I N P L A I N S I G H T

Wharf House unites a layered past with family-centred living today

Jethro Jackson’s new body of work explores the tension that binds all life in this fragile existence

27 A RT M E E T S A R C H I T E C T U R E A new home pairs coastal design with the best in contemporary Cornish art

83 F I T F O R A D U K E

Step into a slice of Cornish history, where an old favourite has been revived

40 C R E A T E D I N H A R M O N Y

Celebrating handmade heritage, natural craft and the makers behind it

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90 A N I N V I T A T I O N T O T H E C OA S T

St Michaels Resort offers a space to rest, to revive and to simply breathe

B E YO N D T H E T E S T D R I V E A luxury driving experience that refines the driving experience

101 W A L K I N G T H E L I N E

56 S E C O N D S K I N

Imogen Bone explores a pilgrimage route through contemporary Cornish landscapes

Driven by experience and designed for women, Fulmar redefines what wetsuits can be

59 A N D R E L A X

105 A G O L D E N J U B I L E E

64 S P E C T R A L D E L I G H T S

113 A F O O D E V O L U T I O N

Five decades of fun and laughter at one of Cornwall’s top destination

Signature treatments weave light therapy with intuitive touch and organic botanicals

A symbol of nobility and truth since ancient times

Dinner party dishes from the kitchen of Paul Welburn

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Interior Design, Cornwall & Devon Sofas | Furniture | Homewares & Accessories Curtains & Blinds Kitchens Flooring Fitted Furniture

www.iroka.com | 01736 757 333 | Hayle, TR27 5JR & Wadebridge, PL27 7DA

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Past into

PLACE WORDS BY JAMIE CROCKER

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Wharf House unites a layered past with family-centred living today.

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something that worked as a coherent and contemporary family home.

nown for their thoughtful design and meticulous attention to detail, Woodford Architecture and Interiors is a multi-award-winning practice with a reputation for delivering high-quality work, enduring style and excellent value. Their recent transformation of Wharf House in Mousehole demonstrates the team’s ability to balance contemporary living with architectural integrity and forms the basis of the following conversation.

i en Wharf Ho se s n s al histor fro ca le o ce to shar to r H how did o alance reser ing its historical character with introd cing conte orar design ele ents Preserving the character of Wharf House was a priority from the outset. It’s what gives the building its texture and intrigue, and we wanted to find ways of referencing that past in details that were playful, unforced and rooted in context. Wherever we could, we retained and revealed what was already there – attic beams, granite boulders, the shape and grain of the structure itself – and where we added something new, we used colour and material to make thoughtful connections with the house’s previous lives.

How did o first eco e in ol ed in the Wharf Ho se ro ect and what were o r initial i ressions of the ilding and site We were delighted when Oli and Arabella got in touch. They’d seen our website and were drawn to the fact that we don’t work to a fixed in house style. Instead, we tailor every project around the brief, the building and its context. In this case, they were looking for something imaginative and full of character – but it also needed to respect the heritage of the property and its place on the edge of Mousehole Harbour.

Architecturally, the potential was evident, but the existing layout was fragmented and dis ointed, and there was significant work to do in order to reconfigure the building into

The bedroom that once served as the telegraph station contains a surviving length of cable, held by the family, it has been displayed in a beautifully adapted antique cabinet, with some relevant literature on the subject, intended as a “mini museum”. This was part of the Imperial Cable One line that, during the First World, rerouted the UK’s communications link with the US through

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TOP The Grade II Listed Wharf House sits on the edge of Mousehole Harbour

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A B OV E New first floor kitchen cabinets reference the building’s utilitarian origins, featuring a blue concrete worktop and copper splashback

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TOP The Master Ensuite was finished with a micro cement floor and a bespoke vanity unit with a cheerful lemon print fabric

MIDDLE Each bedroom features a colour-rich ensuite with coastal textures, library shelves for the family’s books, and a painted stripe on the vaulted ceiling

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A B OV E The living room enjoys expansive sea views, a newly installed wood burning stove sits against a wall of delft tiles hand painted with marine inspired characters

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D I A LO G U E

Mousehole. In the attic, once used to store locally grown daffodils, we revealed the roof structure and introduced a mezzanine and rope netting as a reference to its past and its proximity to the sea. In the former Shark O ce’, where visitors once booked fishing excursions in the s and s, we commissioned a joiner to create bespoke bunk beds reminiscent of steamer trunks in a nod to its nautical past, and installed a decorative shoal of sharks swimming above the doorway. Large granite boulders that match the nearby harbour wall are now exposed in this room too.

In the long loft, the original window openings were high above a pair of doors and provided limited contact with the harbour. To improve this, we created a raised seating area – a small intervention, but one that transforms the usability of the space and enhances the views across to St Michael’s Mount. Meanwhile, the ground floor presented perhaps the greatest practical challenge. The floors sloped to aid drainage in the building’s former life as a store, and head heights were limited in certain sections. In what’s now the cinema room – once a workshop where you couldn’t stand upright – we dug down carefully to create additional space without disturbing the original fabric. The room has since been wrapped in a pink terra o flecked cork and filled with a vast velvet sofa. It’s a wonderfully cocooning space now, and one the whole family can enjoy.

What str ct ral or logistical challenges did o enco nter d ring the reno ation es eciall in ada ting s aces li e the long lo the attic and the granite floored gro nd le el Our Associate Daniel Osbourne has decades of experience in working with important historical buildings, his meticulous nature was the perfect fit as Project Architect for Wharf House.

Working within the constraints of a Grade II listed building brings its own considerations, especially with walls that are over half a metre thick and an internal structure shaped by more than years of piecemeal use. The attic was a key space for us. We took care to remove modern plasterboard and reveal the original timbers, which speak to the building’s utilitarian past. Throughout the house, our aim was to allow the materials to speak for themselves. Many of the granite boulders used to form the walls had been hidden away; by bringing them back into view, the whole house feels more grounded and more truthful.

an o descri e how o a roached the s atial flow and internal la o t artic larl in o ening the attic reconfig ring the gro nd floor and incor orating historic feat res li e the ostcard wall The flow of the house was critical not just in terms of function but also in allowing its history to be legible without feeling forced. One detail that stands out is the postcard wall, which began life as a collection in the original first floor loo. The family had labelled each card over a period of fifty years. Our Interiors Director, Sarah, is a trained conservator, and she took great care to ensure those original panels could be integrated into the new guest WC with minimal loss to the original collection.

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D I A LO G U E

fitting to the wharf building, additionally choices like the hand painted crustacean tiles in the entrance hall bring in a playful touch. A magenta pink paint that reminds us of the Red Rags Seaweed found in the rockpools off the uay has been used on joinery items throughout, and stripped fabrics and finishes that echo the rust and lichen seen in the harbour all weave into the rich tapestry of the story that Wharf House has to tell.

At the entrance, we designed a useful foot wash station for rinsing off sand after a swim, and a run of wetsuit drying cupboards in the hallway. There’s an outdoor drying area too. These details were led by the family’s lifestyle but also echo the building’s industrial, harbour-side past – a place of work, wet floors and practical use.

The constraints of the structure demanded creative thinking. Rooms that couldn’t be enlarged were transformed through material and layout. Upstairs, in the open plan living and kitchen space window seats from the original property – remembered fondly by the family – were reintroduced in deep magenta with additional storage for more of the family’s fantastic book collection, and finished with generous, comfortable cushions to relax on while taking in the view.

he ho e has strong ersonal ties to the owners fa il how did their e otional connection to the ho se sha e the design rief and in t rn o r architect ral res onse The sense of attachment was palpable from the beginning. The family have owned the house since the 1970s, and there were generations of memory layered into every room. It wasn’t a blank canvas, and that was a good thing. They asked us to reintroduce the reading nooks and to design in extensive bookshelves. The master bedroom now has shelving across two walls, running all the way to the underside of the exposed pitched ceiling, which we painted in playful stripes, with a library ladder for access. In another room, a portrait of the owners’ parents hangs on the wall. There’s a ship model brought back after the restoration, along with maps, framed artifacts and prints from the original house. These objects weren’t simply decorative – they carried weight and meaning.

Were there any particular materials or techni es sed to reflect the ilding s ariti e or telegra hic ast Yes, absolutely. Throughout the design, we looked for ways to reference the building’s past without being overly literal. In the kitchen we designed a metal rack in a rust finish, it feels like it could have washed in over the sea wall, and provides handy storage where you need it, while the yellow-painted slide and mezzanine beams in the attic subtly reference the daffodil trade. We designed a bespoke coffee table out of the old workshop bench, and selected materials that felt

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TOP LEFT A local signwriter completed the staircase, while a daffodil yellow slide recalls Wharf House’s rich history

MIDDLE The orange joinery screen, inspired by Calo Placamarina lichen, divides the bedroom and ensuite while adding texture and framing views

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TOP RIGHT Nets provide balustrading for the newly created mezzanine den

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TOP LEFT An installation of shark’s swims across the wall in what was the original Shark O ce

MIDDLE The ceiling was opened up to expose the beams and trusses, and the house furnished in vintage finds

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TOP RIGHT The family’s postcard collection, amassed over 50 years, has been lovingly restored

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Every home should feel welcoming, restful and safe – a joy to enter

EXPLORE MY COLOURFUL NEW WEBSITE FOR F U L L P R O J E C T S & D E S I G N I N S P I R AT I O N www.franceshealyinteriors.co.uk M: 07862 252 461 | E: frances@franceshealyinteriors.co.uk Frances Healy Interiors, Bosbigal, Tideford Cross, Saltash, Cornwall, PL12 5JY

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D I A LO G U E

How does the final design reflect Woodford Architecture’s broader ethos or approach to projects involving historic buildings in sensitive coastal settings?

What was your vision for the relationship between Wharf House and its setting on the wharf in Mousehole, especially in terms of views, natural light and outdoor spaces?

Our approach is always led by research, context and collaboration. We start by seeking to understand the site – not just the architecture, but its layers of use, its materials, and how it relates to the landscape. From there, we look to respond in ways that are both rigorous and imaginative.

Our aim was not to elevate the house beyond what it was, but rather to restore its presence as a piece of the harbour.

Wharf House has a rare position. From its windows, you can look across the quay, out to sea, and even track the Scillonian ferry as it makes its journey from Penzance.

These are not just views – they are living parts of the Cornish story.

With Wharf House, we were working with a building that had worn many hats – telegraph station, daffodil store, workshop, shark o ce, family home and that meant our job wasn’t to tidy it up, but to allow those layers to inform the way it could be lived in today.

The courtyard garden has become an extension of the house thanks to Landscape designer Anouska Feiler of esti ue a space to return to after a day on the water. A timber sauna has been introduced, along with two outdoor baths.

The planting is lush and textural. There’s an outdoor shower and a cooling bucket drench for those wanting to reawaken the senses after a sauna session. The garden now has its own rhythm and function, not separate from the house, but as a continuation of it.

Now the project is complete, how do you hope Wharf House will be experienced – as a home, a story and a piece of Mousehole’s evolving history?

It’s first and foremost a home, and one that we hope will be enjoyed for many years by the family and their friends. But it also tells a story – not just of Mousehole, but of how a building can evolve, adapt and be loved across generations.

Were there any discoveries during the renovation that surprised or excited you?

Plenty. While digging for drainage in the garden, the team uncovered a vast concrete tank – around three metres deep – likely used for storing fish. It wasn’t on any plans.

In the long loft, we found a second tank, since converted into a hideaway den. These kinds of discoveries brought moments of real intrigue and provided an even stronger link between the house and Mousehole’s fishing past.

This project has been an honour. The clients were engaged and enthusiastic throughout, and we all wanted the same thing: to breathe new life into a place that still had so much to give. Wharf House is part of the village’s fabric, and we hope it will remain that way for years to come. woodfordarchitecture.com

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Art meets

ARCHITECTURE WO R D S B Y M E RC E D E S S M I T H | I M AG E S B Y G O O D R E S T S T U D I O S

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C R E AT E

A stunning new home in Mylor Churchtown pairs coastal design with the best in contemporary Cornish art.

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Of their build team, Sharan says, “Richards came to our notice when we walked our dog past one of their sites in Mylor Bridge. The quality of their build was outstanding and the site workers were incredibly courteous, so we decided that if we ever built a house, they’d be the people for us.”

igh above Mylor’s yacht harbour, with splendid views over to the Carrick Roads and Roseland Peninsula, stands Angarrack, a house that represents the coming together of the best in Cornish art and architecture. Commissioned by owners John and Sharan Stoker, it is a custom built, state of the art home designed to respect the landscape in which it sits.

Constructed using reclaimed granite, reclaimed oak, and enough reclaimed Delabole slate from a single source for the entire project, its design is nevertheless highly contemporary, “because we firmly believe in architecture that reflects the period in which the building was constructed” John tells me. The result of all this attention to detail by everyone involved is a beautiful, two-storey house that is classically coastal on the outside and luxuriously modern on the inside: the glazed entrance hall, with its bespoke staircase, joins an open-plan living space

Designed by Louisa Meek at CSA Architects of Truro and constructed

by Richards Design & Build of West Cornwall, it was created using carefully sourced materials that balance its modern design with its rural setting. “Louisa grew up in Mylor, so she understands the architecture of the area,” says John. “She is an incredibly talented architect who adores Cornwall and we wanted someone who could design a structure that was contemporary yet respected the history of its surroundings.”

PREVIOUS Ylenia with painting by Sarah Woods

INSET Angarrack House

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TOP Moon Jar by Adam Buick and painting by Jack Davis

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A B OV E Artworks by Jack Davis

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C R E AT E

while the three-car garage hosts a games room and bar: “in the unlikely event that the sun doesn’t shine” quips John, “as occasionally happens in Cornwall.”

with furniture by Soho House and Conran.

Floor to ceiling windows run the length of both the east and south walls and the handmade kitchen includes a gleaming white stone-topped island. A utility room leads on to a fabulous Mermaid’s Garden style shower room, “where you can wash off any sand or seawater” John says, and a separate cinema room with a 65-inch screen and built-in blackout blinds “for that authentic ‘movie house’ experience”.

Most striking however, is the specially commissioned art collection that graces the house. Curated by Ylenia Haase of New Craftsman Gallery St Ives, it is a sensitive translation of the beauty and history of the Cornish peninsula. “We have collected art all of our married life,” says Sharan, “especially from Cornwall and particularly from Ylenia.

Over more than a decade we have come to know Ylenia very well indeed and we deeply appreciate her knowledge of art.

She possesses a rare gift for spotting talent in others and for presenting their work to people like us who will love and appreciate it just as much. Ylenia has filled the spaces in which we live with so much joy and pleasure, so when it came to Angarrack, we invited her to curate an art collection for the entire house.”

On the first floor there are three luxury bedrooms including a principal suite with glorious harbour views and bathrooms decorated with tiles from North Coast Tile Company of Wadebridge.

“Each bathroom was designed to have its own individual character,” Sharan tells me, “based on designs from The National Trust, Italy, the Amazon Rainforest and the Cornish coastline.”

Outside, stone terraces surround the house and a garden building houses an authentic Scandinavian sauna, with a relaxation area, an outdoor shower and a rail for drying your wetsuit after a hard day’s paddle boarding. The lawned gardens are beautifully private, with Cornish hedging and a spectacular wildflower bed,

TOP Turned wood by Anthony Bryant and painting by Jack Davis

For Ylenia, the invitation was an opportunity to both work with her friends and clients and to support the work of her leading gallery artists. “There was no brief for curating the collection,” says John, “other than to invite Ylenia to visit

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TOP LEFT Turned wood by Anthony Bryant

A B OV E Ylenia hanging work

by Jack Davis

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TO P R I G H T Maritime painting

by Emma Jeffryes

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Image courtesy of CSA Architects

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C R E AT E

the house, which she did several times, and to get her own feeling for the spaces.

It was a given that she would establish a collection for Angarrack inspired by the landscape, the colours, the water, the sky, the boats, the people and the heart and soul of Cornwall”.

creative connection or tell a story, adding warmth and character and a true sense of home.” The Angarrack collection includes paintings, ceramics and glass by established artists and emerging young talent, whose practice responds to the beauty of life lived in Cornwall.

When Ylenia first saw the house, she envisioned artworks that would draw inspiration from the surrounding coast and seascape. “Angarrack is in a wonderful location,” she says, “set beautifully between land and water. Its views of the countryside and the creek inspired me to curate artworks that reflect the relationship between the landscape and the architecture of the house.” Her choices reflect both the maritime history and the rich artistic heritage of Cornwall, enhancing the aesthetic and narrative of the space and introducing that wonderous spark that fine art brings to any home.

Some of the loveliest and most subtle works are by painter Sarah Woods, who captures the Cornish coast at its most peaceful in a palette of soft blues and greys. “Sarah is an artist whose works hang in our own home,” says Ylenia.

“Her paintings mirror the peaceful, coastal location of Angarrack and enhance the serene atmosphere of the house.” Equally restful are a selection of still life works by painter Judy Buxton, which hang in one of Angarrack’s luxuriously furnished bedrooms. “Judy’s paintings celebrate Cornwall’s lush and wonderful flora,” says Ylenia, “and pick up on the colour of the wildflowers in the garden. Sharan too is a fan of Judy’s works: “Her paintings are just so calming,” she says.

“Art always serves as a focal point,” says Ylenia, “to enhance the interior and enrich the experience of being in the house. The interplay of colours, textures and styles should not only complement but also contrast architectural features.

Each piece should carry with it a

On the kitchen island one floor below, in a cleverly styled still-life tableau that neatly links to Judy’s paintings, a huge bouquet of azaleas idles in a ceramic vessel by artist

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INSET Glass vessel by Celia Dowson

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A B OV E L E F T Still life painting by Judy Buxton

TOP Pot with Azaleas by Sarah Purvey and painting by Sarah Woods

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A B OV E R I G H T Paintings by Jack Davis

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TOP Artwork by Sarah Woods

A B OV E Angarrack’s kitchen and stone terrace

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C R E AT E

by rising young artist Jack Davis, who is exhibiting at New Craftsman Gallery for the very first time this summer. “I love Jack’s work,” says Ylenia. “His paintings are incredibly powerful. They explore the raw elements of land, sea, and sky, and capture the essence of seasonal change with striking intensity.” These works, it seems, are designed for sun down and for the moment when summer will change to the brooding uncertainty of autumn on the coast. “Each piece in this collection contributes in its own way to the ambience of the house throughout the seasons,” says Ylenia, “which altogether creates a cohesive and enriching environment.”

Sarah Purvey. “The scale of Sarah’s work fits perfectly with Angarrack’s spacious design,” says Ylenia, “and brings textural elements that contrast the building’s smooth interior surfaces.” Purvey’s ceramics are matched by the equally large scale and texturally rich forms of Anthony Bryant’s turned wood vessels, which hold a commanding presence in the house alongside an iconic Adam Buick Moon Jar, while groups of subtle glassware by Celia Dowson reflect the building’s pure coastal light.

In reference to Mylor’s harbour and seafaring history, Ylenia has selected a series of works by Emma Jeffryes, inspired by Falmouth’s biennial Tall Ships Regatta. These paintings connect with Cornwall’s historic tradition of naive art, which has its roots in the work of 20th century painter and fisherman Alfred Wallace. “They bring a sense of nostalgia and local history to the house”, says Ylenia, “as well as being amongst some of the most admired and collected works we show at New Craftsman Gallery”.

For John and Sharan though, there is no distinction between wood, glass, ceramic or painting. “Which artworks do we admire the most?” Sharan considers. “That’s an impossible question for us to answer, because they are as much part of the house as every stone and every slate and we love them all.”

See newcraftsmanstives.com for artwork and curatorial services. Angarrack is available for short term holiday let at boutique-retreats.co.uk.

Several paintings by Neil Canning reference Cornwall’s international standing in abstract art and, perhaps most impactful of all are a series of works

INSET Garden sauna house

newcraftsmanstives.com

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A B OV E Ylenia hanging work by Judy Buxton

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AWARDS 2025 THIS YEAR, WE ARE DELIGHTED TO BRING YOU THE INAUGURAL DRIFT AWARDS 2025, CELEBRATING EXCELLENCE ACROSS THE SOUTH WEST Visit driftjournal.co.uk/awards2025 to nominate now, or scan the QR code.

Nominations are open until the 24th August.

The DRIFT Awards 2025, which will be held in October 2025, will be supporting Dive Project Cornwall.

The shortlists will be announced on 1st September 2025.

Voting will then commence, closing on the 31st September 2025.

Make sure you’re subscribed to our newsletter to receive regular updates – driftjournal.co.uk/email-sign-up

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© Liam Alford

AWARD CATEGORIES E P I C U R E

C R E A T E

Celebrating exceptional culinary innovation and excellence.

Awarded to individuals or teams who demonstrate outstanding creativity, craftsmanship or impact in the realm of food, drink or hospitality.

Acknowledging exceptional creativity across any medium.

Awarded to visionary thinkers, artists or makers who push boundaries and set new standards in creative expression.

R E T R E A T

Celebrating impactful contributions to sustainability and environmental stewardship.

Given to individuals, projects or organisations leading the way in ethical, ecological and regenerative practices.

Honouring spaces and experiences that offer rejuvenation, reflection and renewal.

Given to those who create environments – physical or experiential – that foster rest, mindfulness and well-being.

S U S T A I N

I N S P I R A T I O N A B O D E Recognising excellence in the design, function and soul of living spaces.

Presented to those who elevate the concept of home through architecture and design.

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Individuals and businesses that continue to push the envelope in their chosen field.

Awarded to those that uplift, motivate, and empower through actions, stories or presence, leaving a lasting impact.

31/07/2025 15:13

Created in

HARMONY 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

Celebrating handmade heritage, natural craft and the makers behind it.

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into every aspect of this inspiring shop.

Gentle music drifts through, as do the calming fragrances of natural incenses and locally poured candles made with the finest essential oils. otanical skincare and soothing tinctures and tonics are amongst the foraged delights to be found on the shelves, alongside intricate paintings of moths, trees and foxes, tiny ceramic birds and horses, ethereal dreamy landscapes and detailed lino prints of skylarks and swans. Dried flowers, lichen laden branches and wild feathers perch between fine art and earthy pottery. Wooden vases formed from ancient gateposts, hand carved spoons, spatulas and magnificent knives and axes made using local, sustainable Ash trees. Glimmering silver and gold ewellery forged into wild natural curves, leaves, hoops, moons and wild creatures. ustic beads spill from sculptured vessels surrounded by handcrafted brushes, leather ournals, forged hooks and fronded ferns.

An extensive collection of beautiful books harness stories and ourneys inspired by

raftmongers is an exceptional and inspirational shop founded on an intrinsic and deeply rooted love of the natural world and the incredible artisans working, crafting and creating in harmony with it. ounded in , by Toby Strong and Jodi ou arkin, and later oined by auren Wiig Aspland, this wondrous shop now has far reaching branches within the craft community and carries the creative manifestations of more than local makers and artists.

Tucked into the foothills of Dartmoor National ark, Craftmongers sits at the heart of Ashburton a vibrant independent town known for its anti ue shops and excellent eateries.

The striking living windows of Craftmongers shift and change with the seasons, spring bulbs emerging through russet autumn leaves, summer meadow flowers sprawl and clamber upon the irch trees as you walk through the doors, you find that this adoration of the natural world is woven

PREVIOUS inocut prints by artist ou Tonkin

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INSET Wood fired pottery by John Webb

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SU STA I N

incredibly humbling and brave, and are a leading light to follow in a world that has often felt so very out of touch with our natural native roots. I feel deeply moved by the creative community that continues to grow around us and I am honoured to be able to support them and privileged to have their faith and enthusiasm in return.

The love for the shop and the work of our makers is overwhelming and beautiful, and fuels us to keep doing what we do. All of our treasures are handmade, forged and imagined from the stories and dreams of the person that made them stories that will be carried through the generations in the hands that cherish them, and by those inspired to pick up tools, brushes and pens and begin their own. That to me is magic, and it is magic that we strive to hold on to.”

the natural world and handmade deckle edged papers and art supplies encourage visitors to embark on their own creative adventures. The shop captures the kinship between these talented craftspeople, artists, designers and authors, as their work blends so harmoniously together.

Since the dawn of , Craftmongers is now solely owned and guided by Jodi ou arkin with the support of her incredible creative team ose arie Caldecott, Or ana udeloff, Judy Clark and Ella Whittlestone. Jodi has co directed Craftmongers since its first opening in and is excited about the next chapter Jodi sums up the ethos of Craftmongers thus, “I have learnt so much in these past few years, particularly about the importance of art and heritage crafts how the people that practise their gifts and callings, that share them, teach them, write about them, these people are

A B OV E Craftmongers’ shopfront East Street, Ashburton, T AA

A wide range of items in-store are also available to buy online. craftmongers.com

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TOP LEFT Ella Whittlestone curating the magical shelves inside Craftmongers

A B OV E Selection of treasures including hand forged work from blacksmith Angus Wood and whittled spoons from Neil arris

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TOP RIGHT Craftmongers’ ewellery collections

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A B OV E Welcome to craftmongers a nature inspired treasure trove

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TOP ugs by olly oward and ceramic animals by Jodi ou arkin

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A B OV E Turned wooden bowls and cups

by Sam Thomas

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TOP are and Dog by Tabby ooth, mini ycelium trees by ose arie Caldecott and arly u ewellery

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A B OV E Selection of treasures books, twines, bears and artworks from Jodi ou arkin and ose arie Caldecott

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A B OV E Craftmongers’ beautifully curated interior potting table

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craftmongers.com

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Beyond the

TEST DRIVE WORDS BY JAMIE CROCKER

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TO RQU E

A luxury driving experience that intelligently re nes the driving e erience.

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usually seen on a track car. The profile is athletic without being flashy. There’s a sense of mechanical intent that suits the brand’s S badge well, and a strong rear section framed by digital O ED tail lights and uad exhausts that feels well udged.

or a vehicle pitched at the discerning driver, the Audi SQ5 makes few compromises. It is both powerful and precise, a car that delivers performance in spades without sacrificing ease of use or everyday comfort. While many S s promise to balance utility with en oyment, the S makes good on that offer. With its taut lines, performance-focused interior and engineering pedigree, it feels as suited to a long haul motorway stint as it does to a country lane or city approach. What’s more, it arrives in Cornwall courtesy of a dealership with longstanding ties to the region – Yeomans Ltd, whose Audi showroom ust outside Truro is the only one of its kind in the county.

Inside, the design pivots from power to poise. ermilion leather sports seats, deep-set and ventilated, wrap around the driver and front passenger, offset by brushed aluminium inlays and fine Nappa options. There’s a deliberate weight to the materials, both in finish and feel, which reinforces the car’s sense of presence.

The cabin is large but not excessive, uiet in tra c, and beautifully engineered at speed. The centre console is dominated by Audi’s I touch display and a secondary screen for media and navigation inputs. oice control is standard, natural language recognition is strong, and the response time to commands such as “ ey Audi, open the sunroof ” is immediate.

The car in uestion is a bold, confident machine. isually, the exterior styling hints at its credentials a s uat stance, a wide grille with brushed metal trim, imposing inch alloys and brake callipers more

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During a mile test drive across Cornwall and Devon, there was no urge to stop, no sense of fatigue, no stiffening limbs. The steering wheel is compact and weighted perfectly, with adaptive response depending on driving mode. Six profiles are available via Audi drive select, including e ciency, dynamic and off road, with a seventh Allroad available with the adaptive air suspension upgrade.

Whether you’re easing into a dual carriageway or snaking along the Atlantic ighway, the car stays composed, absorbing surface undulations and correcting lateral shifts with minimal drama.

On tighter bends, the optional sport differential distributes tor ue with uncanny intelligence, actively sending power to the outer rear wheel to enhance grip and reduce understeer.

and driving comfort. This system also enables the use of an electrically driven air conditioning compressor, meaning that even when the engine is switched off, the air conditioning system continues to operate at full power.

A stand out feature worthy of mention is the way the engine and seven speed S tronic transmission work in harmony. Shifts are rapid but smooth, and in coasting mode the drivetrain disengages entirely, allowing the car to glide with the engine off for up to seconds, a detail that will matter more than you’d expect on long ourneys.

When the power is called upon again, the transition is instant. There’s no lurch, no second-guessing; it simply picks up and goes.

The driving experience is further enhanced

by Audi’s uattro permanent all wheel drive. nder normal conditions, the split favours the rear wheels, but in moments of reduced traction, tor ue is reallocated intelligently up to to the front or to the rear, depending on which axle has more grip. Combined with predictive e ciency assist and lane keeping tech, this means the S not only drives well but thinks ahead, adapting to changing conditions and supporting the driver with minimal intrusion.

The S ’s . engine is a refined, reworked unit that sits at the core of its performance. It delivers S and Nm of tor ue, enough to send this . tonne S from to mph in . seconds, yet remains impressively e cient thanks to a suite of supporting systems.

These include the new E plus volt electrical system which supports the combustion engine, reduces CO2 emissions and at the same time increases performance

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I M P R OV E YO U R M OV E

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TO RQU E

When manoeuvring, high definition cameras and a wraparound display remove the guesswork. Sensors and assisted braking make reversing into a tight Truro parking space as straightforward as pulling into a bay at a motorway service station.

And while this might not be a car designed for weekend hauling, it has a load capacity of , litres with the seats folded down and can tow up to , kg figures that will please those with trailers, boats, or family gear in tow.

the people who supplied it. Yeomans td, a long standing motor group with branches across the south, has been present in Cornwall for more than two decades.

The Audi showroom in Tresillian, Truro is the county’s only authorised dealership, and in recent years it has earned top rankings for both investment and after sales under Audi’s national ower programme. It helps, of course, that the staff retention rate is unusually high, many of whom have progressed through apprenticeship routes and stayed, ensuring continuity of service and a depth of product knowledge not always found in the sector.

As for in car entertainment, the ang Olufsen D sound system turns the cabin into an immersive sound chamber. Dynamic ambient lighting beneath the windscreen and around the gear shift changes tone depending on the driving mode selected, subtly ad usting the mood without becoming a distraction. The infotainment system supports multiple user profiles, allowing different drivers to save their seat positions, climate preferences and sound settings. Smartphone integration is excellent too, with wireless charging, app connectivity via the myAudi platform, and hybrid radio that switches between , DA and online streams depending on signal.

While the dealership forms only a small part of the overall story, it matters. A test drive in an S is not ust a matter of sitting behind the wheel, it’s about confidence in the handover, in the after care and in the brand that stands behind it. Yeomans, to their credit, understand this well. They offer a collection and delivery service for servicing and a courtesy vehicle when needed, thus maintaining a loyal customer base across Cornwall and beyond.

So is the S a luxury car Yes. Is it a performance car Absolutely. ut above all, it is a car that does what it sets out to do with power, accuracy and little fuss. or those who need versatility without sacrificing en oyment, it ticks all the boxes.

It’s an exhaustive feature list, and yet the S never feels over engineered. Each layer of functionality is purposeful. There are no gimmicks, no superfluous touches.

It is a car that delivers substance with style and it feels very much like a reflection of

yeomans.co.uk

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SO U L

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

Driven by experience and designed for women, ulmar rede nes what wetsuits can be.

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by a specialist factory in China, while fulfilment is done by Jenna and her family in Cornwall. “I didn’t want to overproduce or be stuck with excess stock,” she explains. “Everything’s small batch. I want to know every suit has a home.”

hen Jenna Goldsack set out to create Fulmar, her Cornwall-based wetsuit brand, she wasn’t following trends, she was fixing a problem. Years of renting wetsuits for cold-water dives had left her with raw, inflamed skin and no answers. “I’ve always suffered from ec ema,” she explains. “ etroleum based neoprene ust didn’t work for me.” A chance switch to limestone neoprene, a softer, more flexible alternative, changed everything. No reaction, no hives. Just comfort followed by a lightbulb moment.

While Fulmar wetsuits aren’t marketed as sustainable, Jenna is clear about her priorities. “It’s about longevity. etter materials last longer, so you’re not replacing them every year.” ecycled yarns, headbands made from offcuts, and early experiments with Yulex, a plant based alternative to neoprene, underscore her considered approach.

Drawing on her background in fashion and her upbringing in Cadgwith, the tiny fishing village on the Cornish coast, Jenna began designing wetsuits with women in mind suits shaped to fit the female body, made from gentler materials, and field tested in Atlantic waters. The full length version includes reinforced knee pads, a practical back ip and a fit that’s close but not constrictive. “ ost wetsuits are designed for men,” she says. “That’s why they feel frumpy. You end up with saggy knees and bunching under the arms.”

ulmar’s focus is resolutely female.

“Some men ask why I don’t make suits for them,” Jenna says. “ ut there’s already a whole industry doing that. I want to make something that fits women properly and performs under pressure.”

As the brand grows, that principle will remain the same. “I don’t want to produce thousands of wetsuits. I want to create ones that people buy and cherish,” she says. “It’s not about chasing numbers.

It’s about making something that endures.”

ulmar launched with two carefully considered styles, a long suit and a lighter spring version, in ust two colours and a modest run. roduction is handled

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A D AY O N T H E I S L E S O F S C I L LY discover the islands that f e e l l i k e a w o r l d a w ay Soar over the Atlantic and touch down in a place where time slows and the senses reawaken. The Isles of Scilly, with soft white sands, aquamarine waters, and unspoilt beauty, offer a rare kind of escape—close enough for the day, but far enough to feel renewed.

Fly from Land’s End with Skybus and arrive in just 20 minutes. With more time to spend on the islands, you can

truly settle into their rhythm: wander quiet beaches, swim in glassy coves, enjoy lunch with a sea breeze, or simply be still and soak it all in.

Prefer a gentler pace?

Travel by sea on board Scillonian III, gliding past the Cornish coast with a front row seat to dolphins dancing in the waves, seabirds soaring above, and the chance of spotting whales on the horizon.

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Whichever way you travel, the journey is part of the adventure...

SAIL | SCILLONIAN III Departing from Penzance FLY | SKYBUS Departing from Land’s End, Newquay or Exeter

07/05/2025 11:11

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

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SO U L

Signature treatments weave light therapy with intuitive touch and organic botanicals to unveil three distinct journeys.

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Three Mile Beach is a place that restores body and mind. Once you arrive, there is little need to leave, with the South West Coast Path and the ocean on the doorstep.

Embracing the healing powers of the wild landsca e is effortless here. o too is the ability for guests to decompress and restore in a eaceful haven. ela offers the erfect quiet yet complementary counterpart to hree ile each s elemental offering.

ased in Cornwall, Inlight Beauty is formulated by science, guided by alchemy and inspired by the wisdom of nature. Every product is handcrafted with care, using ethically sourced botanicals that nourish the skin and honour the planet. This summer, a collaboration with Three Mile Beach – a collection of luxury beach houses on Cornwall’s wild coast – sees an expansion of its wellness offering with the launch of ela , a new dedicated, serene treatment room.

ela invites guests to unwind body and mind with a curated menu of sumptuous treatments. Based in Helston, Cornwall, Inlight Beauty was founded in 2007 by Dr Mariano Spiezia, doctor of medicine, medical herbalist and skin expert, hailed as “the father of the organic beauty movement in the UK.” The brand is COSMOS organic certi ed, with hand blended formulations crafted in small batches, offering a multitude of mineral-rich nourishing oils and balms, as well as refreshing tonics and cleansers.

Located in St Ives Bay, Three Mile Beach is a collection of dog-friendly luxury twobedroom beach shacks, and three- and four-bedroom beach houses. Combining the privacy of self-catering with the ease of hotel-style amenities, guests of Three Mile Beach are spoilt for choice with a concierge on hand to arrange restaurant reservations, sur oard and wetsuit hire and activities.

Private, wrap-around terraces are home to sunken cedar hot tubs and barrel saunas, and on clear evenings, guests can admire Cornwall’s night sky with startling clarity thanks to in-house state-of-the-art telescopes. Three Mile Beach’s restaurant, Chomp, serves an ever-changing seasonal menu, whilst the option of private chefs serving up tasting menus and DIY pizza hampers makes home dining a breeze.

PREVIOUS he ela treatment room at hree

ile each

he unveiling of ela will showcase he Trilogy, a collection of three immersive spa rituals, created by Sarah Hussey, a holistic therapist and spa consultant with over 30 years of experience. Sarah has woven together light, intuitive touch and the organic botanicals of Inlight Beauty skincare into a series of transformative treatment rituals inspired by the elements:

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A B OV E Where realxation meets luxury stay

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SO U L

rhythm within. This grounding full-body ritual features warm basalt stones, chakra alignment, reflex activation a soothing techni ue that stimulates specific reflex points connected to the nervous system), and rhythmic massage to rebalance energy.

Sun, Moon, and Earth. At the heart of The Trilogy lies a guiding philosophy that light is a symbol of renewal, clarity and inner radiance — and that by aligning with its rhythm, true wellbeing naturally unfolds.

The Trilogy offers guests the choice of three distinct journeys. Skinlight (Sun) is designed to awaken your inner glow. It’s a revitalising facial ritual blending Inlight’s organic skincare with LED light therapy in collaboration with Opatra London.

This award-winning British brand is internationally acclaimed for its unique and versatile range of devices, suitable for all skin types.

Each ritual begins with a nurturing foot soak: rose to balance the skin’s pH, calendula to support natural cell renewal, Himalayan salt for gentle exfoliation, and calming lavender. To bookend the experience, the ancient Egyptian Eau de Philae — a citrus botanical cologne — is delicately misted to awaken the senses.

Guests then conclude their session with a warming cup of herbal tea. “In creating The Trilogy, I wanted each treatment to offer more than relaxation — rather to serve as a return to stillness, clarity, and the light within,” adds Sarah.

As Sarah explains: “Its cutting-edge technology maximises the e cacy of Inlight skincare products, allowing them to penetrate further into the skin using LED light wavelengths, designed to target specific skin concerns.

LED Light Therapy has many benefits for the skin and can target concerns such as ageing, breakouts, and pigmentation. This is a unique piece of equipment with endless bespoke treatment options.”

Later this year, Three Mile Beach will introduce treatments from the Amethyst Trust – a specialist programme designed to support guests who have experienced cancer – an initiative which reflects a cause close to the founders’ hearts, Craig Burkinshaw of Audley Travel and Joanne Le Bon. Inlight Touch Therapy’s collaboration with the Amethyst Trust will enable these rituals to be inclusive for everybody.

The Skinlight treatment is further enhanced by cooling Amethyst Gua Sha and a soothing facial massage to restore luminosity and lift. eanwhile, ightline oon invites guests to float into stillness with a serene back-of-body massage inspired by the tranquil rhythm of moonlight. ong, flowing strokes soften tension and quiet the mind. Finally, ightflow Earth encourages us to feel the

Request Inlight’s Trilogy Treatment by emailing treatments@threemilebeach.co.uk or by calling Three Mile Beach directly. inlightbeauty.co.uk threemilebeach.co.uk

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INSET Head Therapist, Lily

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Spectral

DELIGHTS

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symbol of nobility and truth since ancient times, sapphires have adorned kings, queens and clergy members, worn as a talisman to protect from envy and harm. Fast-forward to the 21st century and the sapphire has become a symbol of love. Princess Diana’s, and subsequently Kate Middleton’s, 12-carat Ceylon sapphire engagement ring remains one of the most iconic pieces of jewellery in the world. With a mesmerising sparkle, sapphires come in many hues, including rare colour-change varieties. Whether worn for their timeless elegance or symbolic meaning, sapphire jewellery adds a touch of brilliance and personal story to every moment. michaelspiers.co.uk

Prices may vary according to model and size.

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B I J O U X

1 8 C T W H I T E G O L D RO U N D - C U T S A P P H I R E & B R I L L I A N T- C U T D I A M O N D P O L O N E C K L A C E 1 . 2 2 C T – £3,950

1 8 C T Y E L L O W & W H I T E G O L D O VA L C U T S A P P H I R E & RO U N D B R I L L I A N T- C U T D I A M O N D C L U S T E R R I N G 0 . 8 5 C T – £2,750

1 8 C T W H I T E G O L D O VA L - C U T S A P P H I R E & B R I L L I A N T- C U T D I A M O N D T R I P L E R O W H O O P E A R R I N G S 5 . 2 5 C T – £9,950

P L A T I N U M O VA L P I N K S A P P H I R E & D I A M O N D O VA L - C U T T H R E E S T O N E R I N G 6 . 6 7 C T – POA

1 8 C T W H I T E G O L D RO U N D - C U T S A P P H I R E & B R I L L I A N T- C U T D I A M O N D S C A T T E R E A R R I N G S 0 . 6 7 C T – £2,295

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P RO P E RT Y

Estuary

OUTLOOK Striking coastal home near Daymer Bay with views, pool and terraces.

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ith six en suite bedrooms and over 4,300 square feet of living space, Tide Race is a contemporary, timberclad property designed to make the most of its exceptional coastal setting. Built in 2023 and set above Daymer ay, the house offers reverse living to maximise the panoramic outlook across the Camel Estuary and Brea Hill. The vaulted, open-plan living area opens onto a broad wraparound balcony, while the principal suite includes a dressing area and sea-facing views.

A games room and bar lead directly onto the landscaped garden, where terraces surround the heated outdoor pool.

With easy access to Cornwall Airport Newquay, Tide Race is positioned just a short walk from St Enodoc Golf Club and St Moritz Hotel, with footpath access to Daymer Bay and Polzeath beaches via the Southwest Coast Path.

This high-spec home balances privacy with proximity, offering a stylish and spacious base from which to enjoy all of Cornwall’s north coast.

TIDE RACE OIEO: £5.25M JOHN BRAY ESTATES 01208 862601 sales@johnbrayestates.co.uk

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P RO P E RT Y

Barn

CONVERSION A substantial Cornish home with e ibility s ace and striking design.

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t etroc’s arns is a large, well finished property in the Cornish countryside, a short drive from adstow and the North Coast beaches. The main house includes four bedrooms and a standout foot open plan kitchen, dining and living space, complete with high vaulted ceilings, exposed beams and a curved wood burning stove. The interiors are well considered, from slate flooring on the ground floor to reclaimed hardwood upstairs.

A separate home o ce, utility room and ground floor suite add flexibility, while outside, the grounds extend to nearly an acre. Two additional dwellings, a triple bay carport, workshop, and WWII shelter offer further potential, with a strong letting history and practical features that make this property well suited to modern rural living.

ST PETROC’S BARNS Guide price: £1.495M JACKIE STANLEY 01841 532555 sales@jackie-stanley.co.uk

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P RO P E RT Y

Riverside RETREAT Period charm meets modern luxury in a tranquil riverside setting.

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ituated in the tranquil hamlet of Menadarva, Mill Cottage is a carefully restored 19th-century residence set within over two acres of riverside gardens.

Originally two miners’ cottages, the property has been renovated, with the addition of a David Salisbury orangery and sophisticated Italian marble flooring. The main house features four bedrooms, three of which are en suite, including a stunning vaulted principal suite with exposed A-frames and a freestanding bath.

A self-contained one-bedroom annexe above the triple garage offers private accommodation with open-plan living and a south-facing deck.

Outside, landscaped gardens stretch along the ed iver, fre uented by otters and kingfishers.

A water filled leat, upper meadow and sunny patio complete the picture, creating a haven for nature and entertaining alike. Located near the beaches of Gwithian and Godrevy, this exceptional property pairs natural beauty with refined living, making it ideal as a family home, creative retreat, or dual-occupancy residence.

MILL COTTAGE Guide price: £1.2M JACKSON-STOPS 01872 261160 cornwall@jackson-stops.co.uk

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Hiding in

PLAIN SIGHT 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

Jethro Jackson’s new body of work explores the universal tension of struggle and survival, and the life force that binds us and all life in this fragile existence.

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to run its hand over the crags of paint. This is the pull, the dangerous seduction, of paint which can beguile audience and viewer alike.

s a new exhibition of Jethro Jackson’s paintings goes on show at Projects Twenty Two gallery this summer, I spoke to Jackson and exhibition curator Dr Altair Brandon-Salmon about how Moor Lands finds a rhythm with the landscape.

“This perhaps accounts for the often shocking beauty of Jackson’s painting: in Moor Lands, there are electric yellows, ice purples, reds like blood clots, browns full of rich, creamy tones. It’s a Technicolor profusion, born out of a deep engagement with North Cornwall, but Jackson does not want to create a window into that landscape, but rather he attempts to conjure up a portal through which the audience can enter into a world of his own making.”

Deeply embedded within the sublime, harsh atmosphere of North Cornwall, this work rhymes with the shifting layers of colour and texture that mark the land. Jackson’s practice, shaped by modernist painters like Peter Lanyon, reveals a Cornish world that is haunted by ghosts and animals. He makes us see the world anew, as though he has the agile, hovering perspective of a kestrel.

Jackson’s practice as an artist has substantially evolved over the last five years. His relationship to both landscape and painting have shifted in their approach.

These paintings are as a result of time spent walking Rough Tor on Bodmin Moor, a landscape carved by wind, stone and untold centuries. Jackson tells me: “There’s a primal stillness to it, layered with Cornish and Celtic memory, a deep quiet where survival once meant shelter, food, warmth – nothing more, nothing less. What struck me is how this place, humble and overlooked, holds the same forces that drive myth: life and death, protection and sacrifice, power and presence.”

Drawing together new work alongside drawings and prints, the exhibition will show how Jackson moves across different media where he finds the space between representation and abstraction. It will show how his process responds to the weight of paint and the pull of graphite and show his engagement with the elements of an everfluctuating landscape.

“How to paint? It’s the question every artist must face – a matter of wrestling an image out of pigment, laboriously, the paint has its own force which the artist must contend with,” comments Brandon-Salmon. “In Jethro Jackson’s work, the burrs of paint stand proud from the surface, leaving a rough texture that calls out to the audience OPPOSITE Bound to place (detail) - oil and gold on board - 70x50cm

“I began seeing the animals – a fox, a raven, an ewe and her lamb – not just as creatures of the moor, but as symbols, witnesses, beings who remember.,” says Jackson. “I gave each

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TOP Hipparleon - oil and gold on board - 30x30cm

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A B OV E Zeus - oil and gold on panel - 10x10cm

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TOP Hecate - oil and gold on board - 50x40cm

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A B OV E Clotho - oil and gold on board - 40x40cm

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TOP Hades - oil and gold on panel - 10x10cm

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A B OV E Hound - oil and gold on board - 30x30cm

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OV VEE AABBO Sentinel- -Oil oiland andgold goldon on Sentinel canvas--120x70cm 120x70cm Canvas

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A B OV E Nyx - oil and gold on board 100x70cm

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TOP Stolen Light - oil and gold on board

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A B OV E Sky is Watching - oil and gold on board 50x40cm

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A B OV E Atropos - 0il and gold on board - 20x30cm

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C R E AT E somehow are able to be transformed into paint, creating an object which can embody these experiences.” Jackson’s breakthrough in his practice was as a result of trying to find a rhythm in his painting that would explain what he was feeling and experiencing. It’s not just about vision. It’s not just about how the world appears. It’s how does the world feel? How do we experience this world?

The work is sculptural in its texture, paint extends beyond the edges and within its thick layers, there are shadows of previous versions, right? You want to run your hand over them to feel the texture, as if it’s the landscape, itself on the canvas.

a golden eye, not for decoration, but to say: They see. Into this local world I introduced Greek mythology; not to overwrite it, but to tie it to the cosmos. To show that what happens to a beast on the back of Bodmin is just as mythic as what happens to Hera, Zeus, or Apollo. The gods’ struggles are our own, and vice versa.”

Brandon-Salmon adds: “There’s a sort of existential quality to nature. It’s really about survival, life, death, these kind of basic but essential poses. Jackson is drawn to these moments. However, in these works we are not just looking at nature; nature is looking back at us, assessing us.

While this may unsettle us, it’s a salutary reminder of the rawness and violence of nature, something that can be so easily sentimentalised. While nature has moments of tremendous beauty, Jackson is looking for those spaces in between, and that’s why I think you often see these animals in repose.

The upcoming show has works of various scale. When you enter into the gallery, some of the paintings emerge from the wall towards the viewer, others recede.

It’s almost as if you’re walking into the very landscape: “but whose land does the audience traverse in Moor Lands?” asks Brandon-Salmon. “Jackson’s land, of course. The works are alive with the buzz and hum of energy and emotion, these objects of pigment and board congealing before the audience’s eyes into something approaching the presence of a living creature. e finds life where the viewer least expects it.”

“It’s important to think about Jackson’s work beyond the usual coordinates of Cornish painting. Cornwall is no pastoral salve, or romantic haven, but an ancient, elemental landscape, intensely alive, where people and animals can often be interchangeable forms stalking the land.

It suggests a post-war modernist like Peter Lanyon, who created his own distance by taking to the sky in gliders, which led to work such as Soaring Flight (1960), seeking to convey the experience of flight through the swipes of brushstrokes, loaded with blue and red oil paint. Paint and sensation become intertwined, just as in Atropos, a small painting by Jackson of a sheep’s head (opposite), its eyes meeting the viewer’s. This is what it feels like to be addressed by a non-human consciousness.

Jackson concludes: “These paintings are about that shared thread; the lifeline that connects mortals and gods, myth and mud, presence and memory. Whether it’s a divine raven cursed for telling the truth, or a worn old sheep alone on a hill, the weight is the same. That’s the key to all of it: Every problem, every being, every myth – matters. Equally.”

Jethro Jackson: Moor Lands shows at ro ects wenty wo rewiston ane St Minver, Wadebridge, PL27 6PY from 13th August to 6th September 2025.

“The animals have gilded, golden eyes looking back at the audience, proclaiming that they see us. These are not experiences which find an easy vocabulary, but

projectstwentytwo.co.uk jethrojackson.com

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Fit for

A DUKE

WORDS BY JAMIE CROCKER

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R E T R E AT

Step into a slice of Cornish history, where an old favourite has been revived with character.

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flagged entrance are unmistakable, and if you didn’t know it had stood through five centuries of change and a freak flood that brought tonnes of water through the ground floor in , you’ll know the moment you step inside.

he Wellington in Boscastle has had more than one life. Originally a 16th-century coaching inn, it’s seen the comings and goings of monarchs and poets, floodwaters and folklore and now, in , it begins another chapter. eopened in April after a large scale refurbishment, the Welly as it’s affectionately known is once again doing what it does with aplomb providing solid, characterful lodgings with good food and drink complememted by comfortable beds, creating more stories to be added to its already interesting history.

But don’t expect fusty corridors, sticky tables or walls caked in age-rendered dust and grime. ollowing significant investment, the refurbishment has breathed new life into the building without stripping out its past.

The bedrooms and two aparthotel suites are smart, measured, and well appointed think oak floors, deep coloured fabrics, and freestanding baths in a couple of the tower rooms. The palette leans towards coastal tones, seaweed green, slate grey and caramel. Details matter minibars stocked

Situated at the bottom of the alency alley, within sight of the harbour and surrounded on three sides by steep, wooded cliffs, The Wellington’s location alone is enough to make it distinctive. Its stone fa ade, turrets and

PREVIOUS Warm and inviting rooms

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INSET It’s the perfect base for walkers

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A B B OV E Wholesome food and a comfortable night’s stay

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R E T R E AT

The downstairs bar and restaurant retain their atmosphere, with low beams, dark wood and portraits of the first Duke of Wellington looking unimpressed but stately. The food is well pitched.

Starters include a zingy laksa with tiger prawns, while mains veer from roper Job chicken and ham hock pie to a pan-fried hake with lobster infused chive velout . There’s a decent fillet steak and a vegetarian laksa too.

The beer garden a new addition replaces the old front car park, now a split level sun trap with enough distance from the road to offer a genuine breather.

Just a few steps from the door, the South West Coast ath offers options for all abilities.

A popular five and a half mile circuit takes in the alency alley’s woodland paths before climbing out onto the headlands.

There are panoramic views from ire eacon oint, and the route passes through St Juliot itself, where ardy worked as an architect in the s, before returning via the cliffs.

Another, shorter walk winds inland to inster Wood, a narrow, steep sided gorge once managed by monks and rich in birds of prey. For those seeking more of a challenge, the . mile section to Tintagel includes prehistoric settlements, sea stacks and sightings of pu ns and seals if you’re lucky. Not to mention Tintagel Castle itself, perched dramatically on the rocks and reached by an e ually dramatic footbridge.

The Welly has always had a whiff of theatre and connection to the literary arts about it, and rightly so – the actor Sir Henry Irving was a guest, as was Thomas ardy, who famously courted his first wife Emma Gifford at nearby St Juliot. ing Edward II once stayed here, and it’s not hard to see the appeal a setting that combines history with access to one of the finest stretches of coastline in the country.

ack in the village, there’s more to oscastle than first meets the eye. The blowhole at enally oint, known locally as the Devil’s ellows, sends plumes of water high into the air at low tide. The Coastwatch ouse, once a smuggler’s lookout, offers views across the bay. And then there’s the useum of Witchcraft and agic, housing thousands of occult artefacts which managed to survive the

with orev and Tribute, coffee machines in every room and bathrooms that perform as they’re meant to. And, yes, they’re dog-friendly.

INSET A perfect spot for settling down with a good book

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TOP etreating to the welcoming bar

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A B OV E Relaxed and casual dining

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hello@huskconstruction.co.uk | www.huskconstruction.co.uk | Mobile: 07503 569949

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R E T R E AT

and a sense of place. Service is friendly, with local staff who know how to read a room. reakfasts are nourishing and well executed. And while the food is notable, it’s also recognisably West Country, with seasonal produce that reassuringly fails to be pretentious. The refurbishment, then, is less of a wholesale transformation than a considered improvement, an update that respects what came before but brings everything up to the standards expected in a modern hotel. And perhaps that’s what makes The Wellington feel so rooted.

floods largely intact, save for some dampened manuscripts and a dishevelled waxwork witch called Joan, who now en oys a sort of local celebrity.

The harbour itself remains one of oscastle’s main draws a narrow Eli abethan uay wedged between cliffs, lined with stone cottages and a few tearooms.

It’s a good spot to finish a walk, or start one.

It’s also a reminder of the village’s maritime past not ust fishing, but trade, smuggling and the slightly darker stories that come with those activities. The idea that sea witches once bottled the wind here and sold it to sailors might seem fanciful, but then so might the idea that a hotel could survive being submerged under a wall of water, only to re emerge more robust and attractive than before.

or those arriving without a car, odmin arkway is the nearest train station a minute drive and the bus connects oscastle to the surrounding towns. ut once here, there’s little reason to leave. Tintagel, ort Isaac, aunceston and Davidstow are all within striking distance, but many guests spend their time walking the cliffs, eating in the bar, or simply staring out of their window at the view whilst occasionally dipping into a good book such as Far From the Madding Crowd or one detailing the exploits of Arthur Wellesley in the Iron Duke.

The sense of the uncanny persists in the building itself as several of the rooms are reputed to be haunted. Whether or not guests experience anything beyond a good night’s sleep is up for debate, but the stories are taken seriously enough by some regulars that these rooms are occasionally re uested by name.

ew places in Cornwall combine history, landscape and unfussy comfort as effectively as The Wellington. It’s a destination rather than a stopping off point.

Despite the intrigue, The Wellington doesn’t lean too heavily into the folklore. It has the confidence not to. Instead, it does what good inns should offer comfort, substance

wellingtonhotelboscastle.com

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An invitation

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

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In its elevated position above the crescent sweep of Gyllyngvase Beach in Falmouth, St ichaels esort o ers a s ace to rest to revive and to simply breathe.

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rooms, each with subtle nods to Cornwall’s coastal vernacular, generous windows and tactile finishes. ut perhaps the most distinctive experience is found just below the main grounds, discreetly embedded in a subtropical garden. The Spa Garden Lodges are low-slung and secluded, each one a softly minimalist retreat. Interiors lean into natural materials and weathered tones, while outside, private decks feature oversized copper baths and open-air showers framed by bamboo and agapanthus. It’s luxury on Cornwall’s terms providing outdoor living that acknowledges both the rawness and the softness of the British coast.

here is a particular clarity that comes with being beside the sea. Not the curated drama of the Mediterranean coast or the jet-set familiarity of the Balearics, but something more at peace with itself, something more elemental. This clarity finds its architectural and sensorial expression in St Michaels Resort: a place designed for restoration.

Set just above Gyllyngvase Beach, one of the South West’s most swimmable stretches, the resort brings a distinctly contemporary vision to coastal hospitality.

Palm-lined gardens and glimpses of the Atlantic signal your arrival, but the real atmosphere is cultivated through design choices and a finely attuned understanding of what modern luxury means: privacy, light, proportion and a sense of ease.

Each lodge is designed for complete immersion. Oversized beds are dressed in natural linens and Egyptian cotton. Seating is low, textural and inviting.

Thoughtful details – a mini-bar stocked with Cornish produce, interconnecting gates for families or friends staying side-byside – reveal a guest experience that feels considered but never contrived.

Much of the accommodation is housed in the main resort building light filled

PREVIOUS St Michaels Spa Garden

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INSET Spa Garden Lodge

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Beautiful timber buildings

hello@post-beam.co.uk

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01326 336554

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www.post-beam.co.uk

Image by Anthony Greenwood photography

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nominal supplement offering a gentle structure to otherwise luxuriously languid days.

For those who desire independence, St Michaels stylish beach apartments come with incredible sea vistas, huge glass balconies, up to four beds, a fully equipped kitchen and room for all the family to spread out. The best of both worlds, these spaces provide all the privacy to relax yet still give access to luxurious resort facilities; the Health Club, spa, restaurants, e-bikes and paddleboards.

Dining at St Michaels is similarly edited and precise in the hands of Head Chef Dave Waters. The Brasserie on the ay offers a menu rooted in local sourcing and classical technique. The food is not theatrical, but it is exacting.

Think Cornish crab with preserved lemon or day-boat turbot with seasonal greens… each plate leans into freshness and restraint, served against a backdrop of sea and sky. It’s fine dining for people who don’t require ceremony.

Guests of the Spa Garden Lodges enjoy unrestricted access to the resort’s spa, a space that avoids the usual tropes of wellness marketing in favour of something far more tactile and architectural. At its core is the largest hydrothermal pool in the South West, flanked by a barrel sauna with sea views, steam rooms scented with botanicals, an alfresco hot tub, and the kind of cold plunge pool that attracts those drawn to the bracing clarity of sea swimming.

There’s a balance here between temperature and texture, solitude and sociability.

For a more casual alternative, Nourish is located within the resort but set apart in tone. A relaxed space for late breakfasts, wood fired pi as or a post-treatment salad and natural wine, it has become a quiet favourite among returning guests.

Alongside it, the bar and lounge take on a more evening-forward role. The cocktail list is confident its classic recipes adapted with Cornish spirits and foraged infusions. The bar space is intimate, with low seating and muted lighting designed for conversation or solitary reading, depending on the moment.

The treatment spaces are pared back and calming. Signature therapies borrow from Cornish botanicals but avoid overt theming. A massage is simply that: skilfully delivered, deeply restorative. For those seeking more than physical reset, the resort also includes access to the well-equipped Health Club. A schedule of classes, from dynamic HIIT sessions to open-air yoga, is available for a

The resort’s location places it at the heart of Falmouth’s most compelling features. Gylly Beach is mere steps away where white sands and clean water, framed by rocks at either end is known for its calm, swimmable

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A B OV E A place to restore mind and body

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A B OV E St Michaels’ penthouse beach apartments

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M A D E I N CO R NWALL FO R 4 0 YEARS

01209 215 759 | enquiries@philipwhear.co.uk | www.philipwhear.co.uk DRIFT--46--PCV64 Whear Conservatories FINAL.indd 1 DRIFT--36--PCV49 PRINT--AD--1.00--Philip PRINT--AD--Philip Whear--1.00 v2.indd 1

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A B OV E Nourish is a place to eat, drink and soak up the views

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A B OV E Food for the soul

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not just comfort, but composure. The emphasis is not on excess or overt glamour, but on stillness and rhythm.

Travel here is uncomplicated. Falmouth Town station is walking distance from the resort, served by direct trains from ondon via Truro. or those flying, short routes from Gatwick to Newquay make a long weekend entirely feasible.

Once arrived, the sense of departure from pace, noise and the general clutter of life is instant.

bay. Paddleboards are available for guest use and morning dips have become something of a ritual for many.

Beyond the beach, the area reveals itself slowly: tree-lined walks around the Helford River; ferry rides across the Carrick Roads to St Mawes or the Roseland Peninsula; and garden paths leading to hidden beaches and artists’ studios.

Falmouth itself is a study in contrasts.

A working harbour with a rich maritime past, its streets are home to independent bookstores, well-edited design shops, and a food scene that quietly champions local provenance and international technique.

It is a town that has evolved organically around its creative and nautical histories. The annual Oyster Festival each October is both a culinary event and a cultural marker; a celebration of the native Fal oyster that brings together chefs, makers and musicians in a way that feels entirely of place.

to the to recalibrate.

As hospitality trends continue to shift away from the formulaic towards the fluid, places like St Michaels feel increasingly prescient.

This is not a wellness destination in the typical sense.

There are no mantras, no prescribed itineraries, simply thoughtful design, a connection landscape and time

For the discerning traveller seeking respite from a city that rarely stops talking, this Cornish resort speaks in a different register. Here, the luxury lies in the small decisions. The weight of a coffee cup in hand, the scent of the sea on the morning air, the way the late afternoon sun lands on pale timber floors. It is a place that understands that refinement need not be broadcast. It can simply be felt.

Staying at St Michaels provides access to this world but also a deliberate step away from it. The resort is resolutely self-contained. One could arrive and not leave the grounds for days and still feel nourished, both physically, mentally, aesthetically.

It offers something many coastal escapes fail to deliver:

stmichaelsresort.com

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Walking

THE LINE WORDS BY JAMIE CROCKER

Artist Imogen Bone explores an ancient pilgrimage route through contemporary Cornish landscapes.

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mogen Bone’s forthcoming solo exhibition, Drawn by Light: Walking St. Michael’s Way, at The Summerhouse Gallery later this month transforms the historic route into a compelling artistic journey. The Scottish-born artist, now based in Helston, has spent months walking this ancient pilgrimage between Marazion and St Ives, creating a body of work that captures the raw experience of traversing Cornwall’s spiritual landscape.

The St Michael’s Way itself links ancient trade paths and sacred sites, threading through Ludgvan and Gulval before offering panoramic views across the peninsula. Imogen has walked this route in both directions throughout the year, selecting viewpoints that reveal unexpected perspectives of familiar territory. Her paintings focus on angles that diverge from the typical postcard views of the causeway and mount.

Expounding the concept behind the exhibition, Imogen says, “ y work often centres around the theme of walking, as I am always keen to explore the area local to the galleries I work with. Over the years, I have documented Mount’s Bay extensively, walking its coastline in all weathers. For this show, I was interested in capturing the first glimpses of the bay and what better path to choose than the St. Michael’s Way, leading from Lelant on the north coast overland to St. Michael’s Mount in Marazion on the south coast. A walk along coast paths, through shaded woodlands and over fields, all leading you towards the sun.”

Imogen’s method involves plein air sketching followed by studio development, but always with an emphasis on capturing the elemental conditions she encounters.

She deliberately chooses days with mixed weather – sun punctuated by cloud cover finding the shifting shadows more compelling than unchanging blue skies.

This approach aligns with contemporary psychogeographic thinking, where the landscape itself dictates the walker’s path and, consequently, their emotional and creative response.

The exhibition will be accompanied by the artist’s own written accounts of her experiences along the route, providing context for the visual work. These texts, described as poetic yet grounded in reality, document moments of encounter and discovery that inform each painting.

The combination of visual and written elements creates a comprehensive record of pilgrimage as a contemporary artistic practice.

The exhibition presents both intimate sketches and larger canvases, each paired to show the artist’s immediate response alongside more developed compositions.

Imogen’s approach moves beyond conventional landscape painting by documenting the actual experience of the walk – the encounters with curious cows that blocked her path, clouds of midges that refused to disperse, and the interplay of light and shadow across varied terrain. Her loose, elemental painting style incorporates details that many artists would edit out, such as the effect of water in eyelashes after swimming, creating works that feel lived rather than merely observed.

PREVIOUS Scrambling Through Blue 60x50cm acrylic on canvas

Beyond the gallery walls, the exhibition serves a broader purpose. Imogen intends to raise awareness of the St Michael’s Way and generate support for its maintenance.

The gallery plans to donate proceeds to the small charity responsible for pathway upkeep, highlighting the ongoing need for

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For those familiar with Imogen’s previous work exploring swimming perspectives and coastal viewpoints, this exhibition represents a natural evolution. Her willingness to document the charmingly unglamorous alongside the beautiful creates paintings that speak to anyone who has experienced the reality of walking Cornwall’s ancient paths.

funding to preserve these historic routes for future generations.

The Summerhouse Gallery has chosen to complement Imogen’s paintings with ceramic works featuring birds, reflecting the rich avian life encountered along the coastal sections of the walk. This thoughtful curation underscores the exhibition’s commitment to presenting Cornwall as it exists, complete with agricultural obstacles, seasonal wildlife and the kind of authentic moments that make genuine exploration worthwhile.

TOP Sunshine in the Cabbage Patch 100x100cm acrylic on canvas

The exhibition runs from the 15th August to the 5th September. summerhousegallery.co.uk

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A B OV E Bring me Sunshine 70x100cm acrylic on canvas

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A golden

JUBILEE

WORDS BY JAMIE CROCKER

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Five decades of fun and laughter have unfolded at one of Cornwall’s top destinations.

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by a desire to evolve while staying rooted in who we are. Of course, winning awards and industry recognition has been an honour, but for us, it’s the relationships we’ve built with generations of returning guests that have truly defined our story. Seeing families grow up holidaying with us, and welcoming their children and grandchildren back each year, is the most rewarding part of our journey.

ooda Farm Holiday Park is a success story. As it prepares to celebrate its half-century, we engage with Charlotte eale to find out what the key elements are that have contributed to its longevity.

Looking back over the past 50 years, hat are so e o the definin o ents in Wooda’s journey from working farm to awardwinning holiday park?

How has your identity as a family-run business shaped the ethos and experience at Wooda over the decades?

Wooda’s journey as a holiday park began in 1975 when my grandparents welcomed their first touring guests to stay on the farm.

At the time, it was a bold and visionary step, opening just a few caravan pitches alongside the working dairy farm. The decision to diversify marked the start of something truly special, and over the decades, each generation of the family has brought its ideas and ambitions to the par . Introducing our first holiday caravans, converting old farm buildings into food and drink venues, and more recently launching our luxurious eco lodges and on-site wellness offerings, have all been defining milestones. Each chapter has been shaped

Being family-run is at the heart of everything we do. It brings a personal pride and a sense of responsibility that touches every part of the guest experience, from the way we care for the grounds to the thoughtful service our wonderful team provides. The ethos has always been about creating a place where people feel completely at ease, where nothing is too much trouble, and where that genuine sense of being looked after runs through every interaction. e ve grown over the years, but we’ve never lost that hands-on approach or the warmth that comes from being a close-knit family team.

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holiday homes to luxurious eco lodges with sea views. For campers and tourers, our spacious pitches come with stunning views and first class amenities. cross the par , you ll find landscaped gardens, woodland trails, a dog exercise field, play areas, and even a working farm. Add in on-site food and drink venues, including our familyrun bar and seasonal pop-ups, and it’s a destination that feels both peaceful and full of possibility.

You ll often find us chatting with guests, tending the gardens, or helping out on the farm and we wouldn’t have it any other way.

It’s that visible presence and genuine care that we believe sets Wooda apart.

What do you think keeps guests returnin to ooda ear a er ear, and how do you balance tradition with modern expectations?

There’s a certain magic to Wooda, a peacefulness and a familiarity that guests connect with. Many tell us that it feels like coming home, and we take that as the greatest compliment. We believe it’s the attention to detail, the friendly atmosphere, and the sense of community that keep people coming bac year after year. t the same time, we know how important it is to evolve.

Every winter, we reinvest heavily into the park, so that when we reopen each March, there’s always something new to discover, whether it’s an upgraded facility, a fresh food and drin offering, or an entirely new accommodation type. It’s about honouring the traditions and charm that people love, while also surprising and delighting them with fresh ideas and experiences that reflect today’s expectations.

With sustainability now high on the agenda for many travellers, how is Wooda championing environmentally conscious holidays?

Sustainability has always been part of our thinking. We’re incredibly lucky to be surrounded by such natural beauty, and it’s our responsibility to protect it. Over the years, we’ve installed solar panels to reduce our carbon footprint, introduced EV charging points to support greener travel, and put comprehensive recycling and waste reduction systems in place. We encourage guests to enjoy car-free days, with plenty of walking trails, farm experiences, and nature-led activities right here on site. Our shop champions local produce, we offer a beach borrow box to reduce single-use purchases and we’re continually looking at ways to source more sustainably across all areas of the park. We see sustainability not as a trend, but as a long-term commitment to doing better for the planet, our community, and future generations of guests.

Could you describe some of the most distinctive features of the park, from the accommodation to the setting, that set Wooda apart from other destinations?

Wooda enjoys a truly special location, perched above the North Cornish coast, with panoramic sea views in one direction and lush countryside in the other. The sunsets here are nothing short of spectacular, and the feeling of space and serenity is something our guests often comment on.

Our accommodation reflects that same balance of natural beauty and quality, from charming Cornish cottages and five star

How has the farm itself remained a part of the experience, and what role do animals, agriculture and nature play for your guests today?

The farm is still a central part of life at Wooda. While we’ve evolved from a traditional dairy operation, the agricultural

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to explore more of what the area has to offer. rom surfing and cold water swimming to coastal hikes and artisan markets, the Cornish lifestyle is something we embrace and champion at Wooda. Supporting local businesses, makers, and experiences is an important part of how we operate – we want guests to feel a real connection to the place, not just the park.

heritage remains, and we re proud to offer guests a chance to connect with it. Children (and adults!) love meeting the goats, alpacas and chickens and our tractor-trailer rides around the farm are a firm favourite.

There’s a sense of connection that comes from being close to nature, whether it’s spotting a deer in the early morning light, walking through our woodland trails, or simply sitting and listening to the birdsong. hese moments offer a grounding, calming contrast to everyday life and are often what our guests treasure most.

hat does the ne t cha ter loo li e or ooda re there an uture developments, ideas or ambitions you can share?

As you celebrate your 50th anniversary, what special events or additions have you planned to mark the occasion?

Looking ahead, we’re committed to continuing our journey of thoughtful evolution. That means exploring new and innovative stay types and continuing to enhance our sustainability across every aspect of the park. We’re also developing more wellness and activity-led experiences that help guests slow down, reconnect, and enjoy the beauty of the outdoors. While we’re always planning ahead, we never lose sight of our roots. We’ll remain a familyrun business with a focus on quality, care, whilst creating memorable holidays that bring people together.

2025 is a milestone year for us, and we’re so excited to celebrate it with our guests. One of the main highlights will be WoodaFest in September – a family-friendly weekend of live music, street food and entertainment, all set within the beautiful park grounds. hroughout the year, we ll also be offering exclusive anniversary discounts, giveaways, and some nostalgic touches around the park that pay tribute to our past. We’ll be sharing stories, photos and memories from the last five decades, and inviting guests, both new and returning, to be part of the celebrations.

ou had to su u the ooda e erience in three words, what would they be and why?

How has the local area of Bude and orth orn all influenced the s irit and offerin o ooda over the ears

Welcoming. Tranquil. Timeless. Welcoming, because our guests are like family – greeted with warmth, care, and genuine hospitality. ran uil, because ooda offers a peaceful escape from the everyday, surrounded by nature and wide-open views. And Timeless, because the memories made here – of beach days, farm walks, starry skies and family time – have a lasting, heartfelt quality.

Bude and the wider North Cornwall area have had a huge influence on the spirit of Wooda. The town itself has a welcoming, independent character that we love, with unspoilt beaches, a vibrant food scene, and a strong community feel.

Many of our guests fall in love with Bude during their stay and return year after year

wooda.co.uk

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Cornwall & Devon’s Premier Kitchen Specialists

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A food

EVOLUTION W O R D S B Y PA U L W E L B U R N

Dinner party dishes that are simultaneously nostalgic and delicious from the kitchen of Paul Welburn.

Extracted from Evolve by Paul Welburn (August 2025, HBK, £45). Available to order from awaywithmedia.com

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Crispy Duck, Cucumber & Hoisin

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have to start somewhere. It’s the same with other Asian food, whether that’s Vietnamese, Thai or Japanese. Visiting those restaurants opened the door to a cuisine that I fell in love with, even back then. When I moved to London as a chef, it opened even more flavour and dining experiences with the ‘chef tradition’ of latenight trips to Chinatown. The aromatic duck was the first dish I tried way back in Scarborough and I struggle not to order it every time I eat in Chinese restaurants. To get a snack that maintains the flavours but in a small intense and aromatic bite just had to be done. This has evolved many times but I still think the original ticks the box.

ack in my hometown, I had my first experience of eating Chinese food. It was not as popular then as it is now.

The new flavours introduced to me then were alien in terms of the combinations.

However, I was a quick learner and like most chefs now realised that using ingredients and techniques from around the world would give me the canvas to elevate dishes or take them in a new direction. I remember my first meal at the Kam Sang, on Scarborough’s North Marine Road. I was with my sister and it opened my mind.

The excitement I got from that experience might not have been as profound as when you travel to a new country – but we all

SERVES 20 INGREDIENTS:

Salt to taste – but be careful as the ducks have been salted and the glaze will add the seasoning

Duck Leg Salt Cure: 6 duck legs

5 eggs, beaten

30g Maldon sea salt

150g plain flour

Zest of 1 orange

300g panko breadcrumbs

2 star anise

Vegetable oil, for deep-frying in a pre-heated fryer set at 180°C

1 tbsp Chinese 5 Spice 15g Szechuan peppercorns

Cucumber & Spring Onion Salad:

Duck Croquettes:

1 cucumber

6 x salt-cured duck legs

2 spring onions

1 tsp Chinese 5 Spice

Sea salt to season

3 large banana shallots, peeled and roughly chopped

1 tsp rice wine vinegar

1 tsp powdered garlic 1 tsp ground ginger

To Serve:

2 tsp Szechuan peppercorns

Watercress shoots

10g chives, chopped

Hoisin sauce (see basics)

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Method overleaf...

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Place the flat bag of duck mixture onto a tray in the fridge for several hours and allow it to cool fully and firm up. Once the mixture is firm and set, remove from the fridge then remove from the vacuum bag. Carefully cut the chilled duck meat into 2cm cubes. Place these onto a tray and pop into the freezer for 20-30 minutes to firm up and make crumbing them easier. Meanwhile, prepare 3 mixing bowls of flour, beaten egg and panko breadcrumbs. Remove the duck portions from the freezer. Dip each in flour, beaten egg and panko breadcrumbs and store in an airtight container until required.

METHOD Duck Leg Salt Cure: In a food processor, add all the ingredients and pulse the speed to make a coarse rub. On a deep baking tray, place the duck legs and rub in the salt cure. Cover with cling film and leave in the fridge for 3-4 hours. Remove from the fridge, wash the legs under cold water thoroughly and pay dry with a paper towel.

Set aside.

Duck Croquettes: Preheat the steam oven or a water bath to 85°C. In a food processor, place the five spice, shallots, powdered garlic, ginger and Szechuan peppercorns and blend into a paste.

With a spatula, remove the paste and add to a vacuum bag with the duck legs and seal. Place into the oven or water bath for 10-12 hours or until tender and soft.

Remove from the oven and strain the stock into a saucepan.

Cucumber & Spring Onion Salad: Peel and remove the seeds from the cucumber. Cut into 3mm dice. Season with salt and allow to sit to soften slightly and draw a little of the water out. Meanwhile, cut the spring onions into 3 and then shred the spring onion lengthways into thin strips. Dress both with the rice wine vinegar and keep in the fridge until required.

Reduce the stock by ¾. Allow the duck legs to cool slightly. Pick all the meat from the legs, being careful to remove all the skin, cartilage and bone, and place into a mixing bowl. Pour in the reduced stock and add the chopped chives. With a spoon, incorporate all the ingredients. Place the duck mixture into a medium-sized vacuum pack bag and seal fully. Once sealed, press the mixture within the bag to flatten evenly to a 2cm depth.

To Serve: Deep fry the croquette for 3-4 minutes until they are golden brown. Remove and drain on kitchen paper. Place a spoon of the hoisin sauce on the serving plate and place the duck croquette on top. Dress with the spring onion and cucumber salad on top. Garnish with watercress and serve.

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C UI SI N E

BBQ Monkfish, Scallop ‘Thai Green Curry’

I

broth-like finish and it’s still delicious.

The use of BBQ monkfish is perfect. The meaty texture and the smokey notes from the coals and the glaze just make a perfect marriage. Adding sweet, roasted, handdived scallops is luxury at its best and elevates the dish. The freshness from the apple and cucumber and the addition of more herbs give it bursts of freshness and a cleansing finish. I love this dish.

absolutely love the aromatic spices in a Thai curry. Thai flavours are ones I love to add to my dishes and here the velouté is enriched with cream. That’s not how they do it in Thailand, for sure, and the purists will hate it. However, it adds a richness and viscosity to the sauce that makes it more comforting. The dish retains the coconut and herbal notes that Thai curries are so well known for. Obviously you can remove the cream and have a more

SERVES 20 INGREDIENTS: Monkfish:

Thai Green Curry Infusion:

1 x 3kg monkfish

1 bunch of Thai basil

2L water

1 bunch coriander

300g salt

50g fish sauce

Basil stalks

5 sticks lemongrass, bruised

Zest of 1 lemon

200g galangal, sliced

100g brown butter (see basics)

50gl lime juice

50g soy sauce

100g soy sauce

20g malt extract

10g kaffir lime leaves

10g lemon juice

6 green chillies, split

20g soft brown sugar

Salt and pepper to taste

50g rapeseed oil

500g baby spinach

Scallops:

To Serve:

40 medium hand-dived scallops

Coriander cress

4 tsp rapeseed oil

Thai basil cress

50g salted butter

Basil cress 1cm Granny Smith apple, diced

Thai Green Curry Velouté:

1cm cucumber, diced

Thai green paste (see basics)

Mange tout, shredded

3 tbsp rapeseed oil

Pak choi, blanched

6 tins coconut milk 2L double cream 5L fish stock

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METHOD

After, remove the scallops from the pan onto a tray and pour over the butter. Allow to rest then carve in two and serve.

Monkfish: First remove the skin from the monkfish and remove the loins from the bone. Remove any membrane and blood line from the loins. To make the brine, bring the water and salt, basil stalks and lemon zest to a boil. Remove and leave to cool down fully. Once chilled, place the monkfish loins into the brine and leave covered for 45 minutes. After, remove and wash quickly in cold water, pat dry and leave to dry on a tray in the fridge. Roll the loins tightly in cling film and refrigerate for at least 2 or 3 hours then cut into 120g portions.

Remove the cling film from each portion and place individually into vacuum pack bags. Add a splash of rapeseed oil to each bag then seal.

To make the glaze place the brown butter, soy sauce, malt extract, lemon juice and brown sugar into a saucepan and reduce by half.

Cook the monkfish in a water bath at 64°C for 10 minutes. After, remove the portion from the bag and over a BBQ, caramelise the monkfish turning regularly, brushing with the glaze each time until a crust has formed.

Remove when the core temperature is 52°C and rest before carving in half.

Thai Green Curry : To make the velouté, in a large pan, add the oil and allow it to get smoking hot. Add the Thai green paste and cook over a high heat to cook the raw flavour out of the ingredients. Cook for around 5 minutes then add the fish stock, coconut milk and reduce by half. Add the double cream and again reduce by half. Once reduced, pass through a fine sieve and place back on the heat. Bring back to a simmer. Add the soy, lime juice and fish sauce and check the seasoning. Next, add the basil, coriander, lemongrass, kaffir lime leaves, chillies and galangal. Remove from the heat, cover and leave to infuse for 15 minutes before passing again through a fine sieve. In a liquidiser, add the spinach to the jug and some of the velouté.

Blend until smooth and a vibrant green colour. Add this to the rest of the velouté and chill immediately.

To Serve: Add the cucumber and apple to the base of a serving bowl. Spoon the hot Thai curry sauce over the top and add the scallops cut in half.

Two scallops per person. Add the blanched pak choi and shredded mange tout. Next add the BBQ monkfish and top with a few sprigs of Thai basil cress and coriander cress. You can also finish with a drizzle of herb oil (see basics) and serve.

Scallops: In a hot frying pan, add the rapeseed oil. Place the scallops, two at a time, into the pan and allow them to colour well on one side. When well coloured, add the butter and allow it to foam. Tilt the pan and with a spoon baste the scallops with the foaming butter for 1 minute.

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C U I SI N E

Toasted Hay Custard, Strawberries, Meringue, Pimms

T

sorbet. There’s a Pimms purée, shards of meringue that give a little nod to the classic British pudding of Eton Mess, and aromatic basil to bring the refreshing yet comforting dish together. Vanilla works well with this dish but if you can get hay and heavily toast it in the oven, the nutty flavour is incredible.

his summer flavour profile just works. It’s just in time for the strawberry season. The combination of cream and Pimms is a nod to that Wimbledon classic. Here I add the almost biscuit-ey notes from toasted hay to infuse in the custard, with fresh strawberries and

SERVES 20 INGREDIENTS: Hay Infusion & Hay Custard:

Strawberry sorbet:

200g hay

1kg strawberry purée

2L double cream

250g water

500g milk

200g sugar 70g glucose

Toasted Hay Custard: 1.5kg mascarpone cream cheese

Strawberry Meringues Shards:

30g cornflour

300g caster sugar

200g sugar

150g egg white

9 whole eggs

Dehydrated strawberry powder

500g infused cream

Crumble:

Pimms & Lemon Purée:

100g butter

2kg frozen strawberries

100g caster sugar

750g strawberry juice, unsweetened

100g plain flour

125g lemon juice

To Serve:

300g sugar

Basil cress

325ml Pimms

Fresh strawberries, chopped

16g agar agar

More of the dried strawberry powder

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Method overleaf...

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METHOD Hay Infusion & Hay Custard:

Strawberry Sorbet:

In a preheated oven, place the hay into a roasting tray and cook at 180°C for 12-15 minutes or until the hay turns to a deep golden colour. In a pan, bring the milk and cream to a boil and add the toasted hay. Cover then remove from the heat and allow to infuse for several hours. Once infused, pass through a fine sieve.

Place the mascarpone, cornflour, sugar, eggs and required weight of infused cream into the Thermomix and cook for 35 minutes at 90°C. Once cooked, remove from the Thermomix and place in a bowl. Cover in cling film to prevent a skin forming and chill. Once chilled, place the mixture back into the Thermomix and on a low speed, blend the mix until smooth. Once smooth, place the custard into piping bags until required and store in the fridge.

In a pan, bring the purée, water, sugar and glucose to the simmer. After, remove and pass through a fine sieve. Allow to cool before churning in a ice cream maker. Once fully churned, remove the sorbet from the machine and place into a container and store in the freezer until required.

Strawberry Meringue Shards Whisk the meringues in a KitchenAid with a whisk attachment. Once the whites are frothing, gradually add the sugar a little at a time. Once all the sugar is added, continue to whip until its smooth and thick. Remove from the machine and with a palette knife, spread the meringue thinly and evenly onto non-stick Silpat baking mats. Make sure the meringue is even. Sprinkle with the dehydrated strawberry powder and dehydrate in an oven set at 60°C for 6 hours or until fully dried. Once cool, break up the meringue sheets into rough shards and store in an airtight container until required.

Pimms & Lemon Purée: Place the frozen strawberries into a large bowl. Cover well with cling film tightly several times. Place the bowl over a pan of simmering water and allow the strawberries to steam and release the juice in the bowl. Keep checking the water level to avoid it boiling dry. Steam the strawberries for 45 minutes to 1 hour, by this time the fruit will have broken down and released the juice. Carefully remove the bowl (the cling film may have expanded and ballooned) and without burning yourself, cut the cling film and release the steam. Remove the cling film and pass the juice through a sieve. Do not squeeze the pulp. Allow to pass and drain to have a clear juice (the pulp can be used for a crumble). Measure the required juice and place into a pan with the lemon juice, Pimms, sugar and agar agar and bring to the boil. Once boiled, the agar is activated.

Pour out into a deep tray and allow to cool and set. Once the jelly is set, place into a liquidiser and blend to a smooth purée. Pass through a fine sieve and place into a squeezy bottle until required.

Crumble: Combine all the ingredients by hand, rubbing between your fingers to form breadcrumb stage. Place onto a non-stick Silpat baking mat and bake in a preheated oven set to 170°C for 20-25 minutes (forking every now and then to cook evenly) or until golden brown. Once golden, remove and allow to cool. Break up the cooled crumble with a fork or pulse quickly in a food processor for a more uniformed crumble.

To Serve: Pipe the hay custard into a serving bowl.

Create a well in the middle with a warm spoon.

Mix a little of the Pimms and strawberry gel with some chopped strawberries and spoon into the well to the top. Cover with a little of the crumble and top with a rocher of strawberry sorbet. Garnish with shards of the strawberry meringue and basil cress. Finish with a dusting of dried strawberry powder.

Paul Welburn will be opening an exciting new restaurant venture in Cornwall this autumn.

Follow @paulwelburn for updates.

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