Discover STILL
In the dance of light and shadow, pause, breathe and see the world anew
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A JOURNAL FOR THE DISCERNING
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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A JOURNAL FOR THE DISCERNING
On the cover
Honesty by Paul Sanders from page 12.
discoverstill.com
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© All rights reserved. Material may not be re-produced without the permission of Engine House Media Ltd. While DRIFT will take every care to help readers with reports on properties and features, neither Engine House Media Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Engine House Media Ltd strongly advises viewing any property prior to purchasing or considerations over any financial decisions. Engine House Media reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. Engine House Media Ltd cannot take responsibility for loss or damage of supplied materials. The opinions expressed or advice given in the publication are the views of the individual authors and do not necessarily represent the views or policies of
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Foreword
In the midst of the everyday, its hum, its hurry, its constant asking, stillness is not something we stumble upon by accident. It is something we need to choose. A pause taken with intention can lead to a deliberate softening. To stop, even briefly, is to step back into the body, feeling the ground beneath our feet and remembering where we are. Stillness has a way of adjusting the focus, drawing us gently back to the present. It asks us to notice the rhythm of the breath, the way light falls across a kitchen table, the subtle beauty held in small, often overlooked details. Capturing these moments, whether that be with a pen, a lens, or simply with attention, becomes a form of grounding. The mind focuses, narrows, sand settles. In learning to see the smallest of things, we find calm. In that calm, we remember who we are. In these moments, the noise loosens its grip. Such is the practice of photographer Paul Saunders (12)
whose images are meditative in their purity of form, inviting our gaze to linger and admire their fragility. Art director and photographer Amelia Pemberton (52) brings an authenticity and originality to her subjects, something that is often lost in modern brand photography. Her gift lies in the ability to bring both the person and the product to life as she does here with a shoot for Paynter’s chore jacket. Ashton House Design (24) proves that collaboration and attention to detail can create meaningful structural change, while Madeleine Olivia (82) invites us to join her in her cottage kitchen for a moment of quiet among the chaos, preparing three recipes that nourish body and soul. We complete this volume with a visit to Exeter’s Royal Albert Memorial Museum & Art Gallery (91), a Victorian institution that courageously challenges its genesis to show the world it has a contemporary grasp of what it has to be.
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DISCOVER STILL
In the dance of light and shadow, artist Paul Sanders invites us to pause, breathe and see the world anew
WELLNESS BY DESIGN
Ashton House Design reinvents a spa through collaboration and attention to detail 31 THE VALUE OF ORIGIN
e aut entic Cornis soft drinks company tells its story 41 BACK IN BLACK legance and performance in one impossi ly sop isticated package from orsc e 52 ALWAYS A PLEASURE, NEVER A CHORE
Cornis creators ecome t e muse cele rating meaning and material
65 A GIN FOR ALL SEASONS
Distilled at the water’s edge with a passion for exceptional spirits
73 LOSE TRACK OF TIME xceptional ospitality and reassuringly good food com ine to stop t e clock
80 A GLASS WELL CHOSEN edrut wine ar s aped y long experience and a measured approac
82 A YEAR IN A COTTAGE KITCHEN y ife in Cornwall
91 A RE-EVALUATION OF LIFE it many museums and art galleries going t roug a period of self-examination, xeter’s does not s y away from its in eritance
Discover STILL
WORDS BY HANNAH TAPPING
In the dance of light and shadow, artist Paul Sanders invites us to pause, breathe and see the world anew.
As a journalist, there are moments in life when you meet a person and for the duration of the interview, time stands still. Such is the case as I sit down to talk to photographer Paul Sanders at his Krowji studio, the weekend after Cornwall has been decimated by Storm Goretti. Strange how nature sometimes holds a mirror; as we talk it becomes apparent that Paul’s journey to now has been something of a storm in itself.
Paul’s formative working years were spent, first as a black and white printer, then as a fashion photographer. An illustrious career in newspaper photography followed, where Paul was the go-to for leading editors when they wanted ‘that’ picture. The rise to the heady heights of esteemed Picture Editor at The Times was the pinnacle, with Paul responsible for the entire visual content of the publication which could amount to overseeing up to 20,000 images every day. Publishing can be a cruel mistress and
Paul tells me that after six years in the job, severe burnout and stress created his own perfect storm which swept him down a dark alley.
The world around me seemed to be turning too fast, as though out of control, and I constantly felt like I was being suffocated. A nervous breakdown followed by a period of severe depression, insomnia and two suicide attempts upturned Paul’s world. He openly shares this with me in the most eloquent of terms and quietness of tone. We both nurse coffee cups as if chalices and share a silent moment of reverence.
We return to the now and Paul continues… his darkest of hours were thankfully permeated by small chinks of light as he let back in the medium of photography, little by little. Working closely with his therapist, the images he took became talking points for sharing the deepest of emotions and a way to seek out beauty in life.
“Flowers naturally caught my eye, not because of their beauty but how they reminded me of myself and my struggle with life. I would sit just looking at the flowers, noticing their curves, lines, fragility and strength – they fascinated me. I spent hours just watching the flowers bloom, fade and die, entranced by their battle. Within each plant I could see myself, I almost became the flower, or the flowers became me, I couldn’t tell where I ended and they began. But witnessing their struggle to give their best, even when I forgot to care for them, they would still perform their dance for me.
Moving to Cornwall from the South East, Paul has found space and peace in Still. His work is now made in response to his emotional and spiritual reactions to the subjects he works with and reflects the sense of stillness and calm he feels whilst with them. Each subject, whether it be a prickly dried teasel head or a paper-thin honesty seed pod, is held to the light and then captured on camera. Such is the fragility, stillness and detail of form, at times the viewer is unsure as to its reality.
bedside read. As I write, I’ve reached the chapter on distraction. Do you find yourself constantly and inadvertently picking up your device and scrolling Indeed, I do. “Among this storm, the one person who needs your attention gets very little – and that is you. So true. What we need to do is to spend our most precious resource more wisely. Time is a resource we have only a finite amount of, none of us know how much we have been gifted, and yet we s uander so much of it doing something that adds little to no value to our lives.
The line between photographer and philosopher is blurred here. Paul has an innate ability to find and convey meaning… perhaps it’s the news photographer in him? His skill at capturing an image that would speak a thousand words, now translates to a more meditative practice. Whatever the reason, it is incredibly powerful, and I leave the interview with a feeling of calm that I haven’t experienced for a long time.
Paul’s beautiful, highly reflective work has been exhibited widely across the , Europe and Japan and his first book, Still: A Mindful Practice for Photographers is published this month and is my current
Still fine art prints are available to buy online and Paul runs photography retreats and workshops throughout the year. Still: A Mindful Practice for Photographers, (HBK RRP £20) is published in February 2026 by Ilex Press. discoverstill.com
Fragile Heart – Chinese Lantern
ABOVE
Broken Promises – Dandelion
TOP Anxiety – Tulip
ABOVE
Courtship – Gladioli
TOP Joy – Tulip
ABOVE Means To An End – Tulip
TOP Beauty In Brokenness – Walnut Leaf
ABOVE
Recovery – Allium TOP Not Worthy – Freesia
Born Again – Poppies
Wellness BY DESIGN
WORDS BY JAMIE CROCKER
Ashton House Design reinvents Sandy Cove’s spa through collaboration and attention to detail.
Sandy Cove Hotel is a family-run hotel perched on the dramatic North Devon coastline with far-reaching views out to sea. When the family decided to rework their spa, the brief was to create something with enduring appeal. The hotel, long established as a wedding venue and coastal retreat, wanted facilities that would carry the business forward.
Ashton House Design, the Devon-based interior design studio led by Simon Bantock and Caroline Palk, was brought in not to perform a makeover, but to rethink how the space functioned and felt.
need to create an atmosphere that feels welcoming rather than clinical. For Ashton House Design, they also provide an opportunity to explore ideas and scale that are less common in residential settings.
The studio’s experience and success with spa projects are well established. As Simon explains, they typically arise when a client is willing to pursue meaningful, structural change rather than superficial updates. Spas bring their own set of challenges: high levels of footfall, chemically harsh conditions, persistent heat and humidity and the
Sandy Cove already had an existing swimming pool and a set of changing rooms – but neither met the aspirations and ambitions of the owners. The wider project was broken down into two manageable parts. Phase One would address the pool hall, new changing facilities and reception – while Phase Two, now underway, will introduce treatment rooms, outdoor facilities and a garden linking to the wooded coastline beyond the hotel grounds. From the outset, Ashton House Design’s involvement extended well beyond interior finishes. The studio worked from the building envelope, rethinking layouts, circulation and the architectural shaping of the pool hall itself.
One of the most significant early decisions was to reposition the sauna and steam room so that they face directly onto the pool, rather than being hidden away within the changing areas. This required extending the pool wall and reshaping it architecturally, allowing these elements to become part of the main spatial experience rather than ancillary rooms. It also introduced a sense of visual depth, drama and activity within the pool hall – something the client had been keen to achieve. From the outset, the selection of materials alone set the tone for what was to follow – a scheme of depth and maturity that will endure.
Simon is candid about how many spa environments fall short, despite significant investment. Walls are built, systems installed, tiles chosen, yet the finished result can feel flat or discordant. At Sandy Cove, the aim was coherence rather than excess, incorporating layers of interest. Every surface, material and fitting selected by the studio revolved around an emphasis on durability and aesthetic consistency. Lighting design, often treated as an afterthought, was integral from the beginning, shaping how materials read and how spaces are perceived throughout the day.
In the changing areas, Ashton House Design took the unusual step of removing windows entirely and turning them into a subterranean space. This was not done to deny a connection to the outside, but to control the environment fully. By creating a space unaffected by daylight, the
studio could ensure that the atmosphere remains constant, whether on a bright summer afternoon or a winter evening. This theatrical approach required careful explanation, but the client embraced the rationale once the implications were understood. The result is a setting where light, tone and reflection are deliberate and mesmeric.
Material choice was central to achieving this control. The palette leans toward dark, bronzed and warm tones, without taking the lazy option of resorting to black. Tiles were selected not only for colour but for how they respond to light, revealing warmth rather than appearing flat. In the pool hall, the studio expanded the glazing along one elevation, pushing the building out to create a series of castellated sea-facing lounging bays. These replaced what had previously been a flat glazed elevation, and afforded the opportunity of tiling throughout and the installation of artwork sourced in Paris. These pieces, metallic in appearance but ceramic in composition, catch and reflect light while remaining suitable for a corrosive poolside environment.
Texture and layering recur throughout the scheme. In the mixed-use changing area, a chain-mail curtain partially screens the space beyond the entrance, softening the transition without resorting to full visual barriers. Such subtleties were important given the shared nature of the facility. Ashton House Design has experience designing spaces that need to be inclusive without feeling generic, and here the solution avoids overt signals in favour of
gradual disclosure. All of the furniture within the spa was designed by the studio and made to order.
Upholstered seating uses fabrics developed for marine and yacht interiors, chosen for resilience as much as comfort. Angular stitching patterns reference the North Devon coastline in abstract form, a restrained nod to context rather than a literal one. Elsewhere, a compressed black cork bench provides robust, tactile seating that is forgiving in a wet environment. Its form borrows from structural elements seen on building sites – both practical and humorous.
The mirrors and vanity zones in the changing rooms serve both practical and spatial roles. One large mirror at the end of the room, framed with light, reflects the area and amplifies the scale of the space. Shower doors are treated not as a line of functional openings but as part of the visual field, with high-resolution photographic imagery applied to glass panels and backlit from within the cubicles. The images, drawn from the coastline near Ilfracombe, provide visual interest as well as addressing the eternal problem of ending up with a room that resembles a corridor of doors.
Underlying these decisions is a working method that places collaboration and anticipation at its centre. Ashton House Design presents clients with drawings that explain circulation and layout before moving on to share physical samples and materials. This layered presentation allows discussion to focus on the rationale aligned
with preferences. The studio also challenges its own ideas in-house, anticipating questions from contractors and resolving technical concerns before they become an issue on-site. This approach builds confidence among the wider project team and reduces friction during construction.
The Sandy Cove project brought together a broad group of contributors who were closely involved in the business on a day-today basis. That level of engagement, Simon notes, makes a significant difference. The family’s enthusiasm for the outcome fed back into the design process, even when the project encountered the inevitable constraints of site and planning. The land itself dictated what could be built and where, particularly as future phases extend toward the sloping woodland and shoreline.
For Sandy Cove, the redesigned spa complements their established wedding venue business whilst appealing to a wide demographic. Guests often arrive with time to use the facilities and share their experience, making the quality of the environment as important as the services offered. Ashton House Design’s contribution lies in recognising that differentiation comes not from adding more, but from making deliberate choices that synergise rather than working against each other.
It reflects a belief shared by both client and designer: that well-resolved spaces require thought and conversation.
ashtonhousedesign.co.uk
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The value ORIGIN of
WORDS BY JAMIE CROCKER
The authentic Cornish soft drinks company tells its story.
Expanding from a small domestic operation in the village of Carharrack to its larger premises in Saltash, on the western lea of the River Tamar, Jolly’s Drinks is proudly Cornish. As a successful brand that has spread beyond its humble origins, we speak with Cheryl Ingram, the company’s managing director, to find out what has made it such a local favourite and what its appeal is to the rest of the country.
Jolly’s has been quenching thirsts since 1896. Can you talk us through the brand’s journey from a small Cornish family recipe to a drinks range now sold across the UK?
Jolly’s was created by John Jolly in Cornwall in , at a time when drinks were crafted slowly without the aid of modern machinery. Times may have changed, and the scale of the operation has grown, but at the core of the company, the same values and ambition still apply: quality ingredients and bold flavour delivered to a discerning market.
As tastes became more demanding, the brand has evolved, moving from an established local favourite to a wider audience, whilst remembering to display its Cornish heritage in the process. Growing across the UK has been about sharing that heritage with more people, not diluting what made it special in the first place.
Your drinks are made with Cornish spring water and as many local ingredients as possible. What’s the philosophy behind your recipe development, and how do you balance tradition with innovation?
Our philosophy is simple: respect the original recipe and only innovate where it genuinely improves the drink. Cornish spring water gives us a clean, soft base. Tradition gives us a benchmark. While innovation lets us play at the edges, whether that’s introducing a subtle Cornish chilli warmth or refining sugar levels to suit modern tastes, every new recipe still has to feel unmistakably “Jolly’s”.
QUENCH
Sustainability is clearly important to Jolly’s. What are the biggest environmental challenges you’ve faced, and what bold steps are you planning next to lower your footprint?
Packaging and transport are two of the biggest challenges for any drinks brand and we’re no different. e’ve focused heavily on reducing unnecessary materials, improving recyclability, and working closely with suppliers who share our values. Looking ahead, we’re exploring lighter packaging formats, further energy e ciencies in production and deeper partnerships with local supply chains. Sustainability is viewed as a series of constant, practical improvements rather than a grand gesture that once activated is then left to wither.
history, paired with the confidence to gently push it forward.
Which of your drinks has the most surprising story or customer reaction behind it, and what was it?
Who are the key people behind Jolly’s today, especially those carrying forward the legacy of John Jolly, and what do they bring to the table that’s uniquely theirs?
Today’s olly’s is powered by a small, passionate team that genuinely cares about what goes into each can. Some are flavour obsessives, some are sustainability champions, others are storytellers, but everyone understands the weight of the legacy they’re carrying. hat they bring is a way of working that is informed by modern thinking but with a respect for the brand’s
Our Ginger eer with a hint of ornish chilli has probably sparked the most conversation. Some people pick up the can expecting a light ginger aftertaste and are surprised by the big hit of warmth that builds right to the end. hat’s been lovely is how many customers tell us that once they try it, they can’t go back. It’s sparked some very passionate fan emails. I have had a lady say it’s the only thing that eased her heartburn when pregnant, but obviously, we can’t market that without thorough research
Cornwall has a very distinctive identity in the UK. How do local culture and community shape what Jolly’s stands for and how fans connect with the brand?
ornwall has a strong sense of pride and independence that we’ve tried to capture in a can e’re conscious of being shaped by the landscape, the sea, the pace of life here and of course the people. That authenticity resonates beyond ornwall, too. e believe people can spot when a brand is genuinely rooted somewhere. e like to think fans don’t just drink olly’s they feel like they’ve discovered a little piece of ornwall.
QUENCH
Where do you see the soft drinks market heading in the next five years (e.g., health trends, flavours, formats) and how is Jolly’s preparing to stay ahead?
eople are becoming more discerning and engaged about what they drink, and they want to support local brands that resonate with their own values. There’s also a big rise in drinks that work just as well on their own as they do in a glass with ice and a splash of something stronger. olly’s is moving into that space bold, grown-up flavours, transparent recipes and drinks that feel like a special treat.
If Jolly’s drinks were characters in a Cornish folk tale, who would they be, and what would their personalities be like?
Our Ginger eer would be the mischievous one warm-hearted, a little fiery and full of surprises. The Sparkling Apple and Sparkling Orange would be the storytellers bright, welcoming and appreciated by everyone in the village. And the original recipes would be the uiet elders, steady and trusted, sitting by the fire while the others cause a bit of chaos.
Every brand has a dream project. If you could collaborate with any artist, chef or cultural figure on a Jolly’s experience or product, who would it be and why?
A collaboration with a chef who champions ornwall, perhaps someone like ick Stein or aul Ainsworth. Or a partnership with an iconic place like The Eden roject. It wouldn’t be about slapping a name on a can, but about creating pairings or experiences that celebrate the region.
What’s the most unexpected way you’ve seen customers enjoy your drinks (e.g. recipe, mix with spirits, food pairings) and what should every DRIFT reader absolutely try?
e’ve seen customers use our Ginger eer and ornish ola in slow-cooked recipes, the ink Lemonade used in a cake created by Trewithen Dairy and on our website , the Tonic was used in a G T dessert, but pairing Ginger eer with a great ornish dark rum and a s ueeze of fresh lime remains a standout. So simple and classic.
jollysdrinks.co.uk
Back in BLACK
WORDS BY HANNAH TAPPING
Elegance and performance in one impossibly sophisticated package from Porsche.
Arriving at Porsche Centre Exeter is akin to stepping into the foyer of a ve star hotel. he moment you re inside, you re envelo ed in an unmista able orsche scent, subtly i ed through the air conditioning li e an aromatic romise of s eed. barista is on hand, brewing coffee for those who wish to stay awhile and why wouldn t you he s ace is immaculate and indulgent, cars ositioned with recision, allowing ust the right amount of s ace to fully admire them from all angles.
m here to test drive the Porsche Cayenne S ybrid lac dition, an designed to combine a s orty feel with a high level of comfort while enhancing standard e ui ment and style with accentuating details nished in gloss blac . f course, as with all orsches you can con gure
your own and so, while its name derives from the detailing, interior and e terior, colours and o tions are retty endless. here s no getting away from the fact that this is a si eable vehicle weighing in at a smidge under 2. tonnes unladen weight and measuring ust shy of m nose to tail however, my ride is without doubt a beautiful one nevertheless, res lendent in anadium rey etallic.
Porsche’s designers have cleverly e t some of the slee lines and curves that the mar ue s racing stoc is nown for, but combined them with the driving essentials re uired of today s s. nside, it s ea modern orsche screens, leather and buttons that clic with the con dence of erman engineers who now they re right. he heated seat switch is attention to detail at its nest and, as ull away, my seatbelt
TORQUE
gently tightens as if tuc ing me in safely for the ourney ahead. ittle things you might say, but they add to ma e the ultimate orsche e erience. t s lu urious without being gaudy, s orty without being uvenile. feel im ortant sat in here.
y ically on the day of my test drive, ritain is doing what it does best hurling water at itself with biblical enthusiasm. he has ceased to be a motorway and instead become a sort of elongated, angry estuary. ray is flying everywhere, visibility is measured in inches, but into this a uatic rmageddon glides the ayenne.. silently, at rst. s it s a lug in hybrid when you initially ull away on electric ower alone it ma es little noise. his does feel a little unsettling when surrounded by truc s throwing u tidal waves, but soon got used to stealth state .
nder the bonnet well, under the bonnet and also under the floor and in various other laces there s a . litre turbocharged etrol engine aired with an electric motor and a 2 . h battery. ombined out ut is 1 horse ower roducing m of tor ue. hese numbers matter because they e lain why this thing behaves less li e a sensible hybrid and more li e an esca ed su ercar wearing hi ing boots.
n the sodden , this owertrain is a marvel. he electric motor lls in all the ga s, so there s no hesitation, no turbo lag, ust instant shove. s uee e the throttle at m h and the ayenne surges forward with calm con dence. orsche claims 2m h in about . seconds and can believe it. ven in the rain. ven with standing water. he four wheel drive system, wor ing with orsche raction anagement, sim ly shrugs and says, es, that s ne, while lesser s would already be s inning gently into the central reservation.
nd this is where the engineering witchcraft really shows itself. he ayenne weighs well over two tonnes more if you ve lled it with children and dogs but than s to active suspension, adaptive dam ers and a centre of gravity lowered by that battery ac , it stays astonishingly flat. hrough standing water at motorway s eeds, it never feels nervous. t feels lanted, calm and lightly smug.
nside, you re cocooned from the weather and the madness. he lac dition brings acres of leather, brushed aluminium, and glossy blac trim that loo magni cent right u until the moment you touch it. he tech is serious a curved digital driver dis lay, a central touchscreen that actually
TORQUE
res onds li e it should and enough driver assistance systems to ma e you feel slightly redundant. a e the head u dis lay. ormally these are a bit of a gimmic , ro ecting some ittery numbers onto the windscreen li e an early lay tation. ot here. n the ayenne, it s cris and eerily recise. eed, navigation, driver assists, all floating serenely ahead of me, e actly where my eyes already are. n a day when visibility is measured in ho e and o timism, it s brilliant. barely need to loo down at all, which means more time watching lorries create their own weather systems.
ventually, the rain relents ust enough to let me eel off the and head into the omerset evels, where the roads roll and curve gently through elds that loo li e they ve been considering becoming la es. his is not s orts car territory. his is tractor country. nd yet switch the drive mode to ort and the ayenne tightens itself li e a tiger ready to ounce. he steering gains weight, the sus ension rms u and suddenly this meaty hybrid starts to behave li e it s late for something im ortant. he electric motor and engine wor together seamlessly, ring you out of bends with absurd force, while the chassis refuses to do anything dramatic or silly.
ri , even on dam , greasy tarmac, is immense. ou can feel the electronics constantly uggling tor ue, sending it where it s needed, while the tyres ust get on with
the ob. t s fast without being frightening, ca able without being arrogant. hich, for something this tall, is fran ly bon ers. dd in ada tive cruise control, lane ee ing and tra c assist and it feels li e it will ractically drive itself bac to eter if as it nicely. nd yet, crucially, it doesn t numb me. still feel involved and connected and that is the real tric here.
n the motorway, with rain drumming on the roof and the ada tive cruise calmly managing the chaos ahead, test out the the ose sound system. his is where orsche really loses its mind. ass that thum s without booming, clarity so shar it might cut itself and volume that turns the ayenne into a rivate concert hall on wheels. turn up AC/DC and enjoy the ride!
he ayenne has rotected me from the worst conditions thin have ever driven in. t has fed me information without stress, e t me warm li e a contented cat, and all while being ca able of humiliating s orts cars the moment the road o ens u . o, how to sum u the ayenne ybrid lac dition t s a family car that can embarrass s orts cars it s a hybrid that doesn t hate you for en oying yourself and it s roof that orsche, once again, has taken an idea that sounds terrible in the ub and turned it into something brilliant. t ma es no sense, but absolutely love it.
porscheexeter.co.uk
POSITIONED Perfectly
Enjoy the best of Cornwall’s natural beauty from this sanctuary for relaxation and connection.
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The interiors are both stylish and inviting, incorporating oak engineered floors, LED downlights, log burners, as well as a raft of Miele appliances in the kitchens. Outside, there are two parking spaces per property and electric car charging points.
Whether envisaged as a second home or a private retreat, these properties offer an opportunity to own something truly special in one of Cornwall’s most sought-after coastal settings. Appealing equally to those in search of tranquillity or adventure, this exceptional development captures coastal living at its finest.
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DELIGHT Waterside
Three-bedroom coastal house with private estuary access and far-reaching views
Brambles is a three-bedroom coastal house arranged over three floors, extending to about 3,066 s ft. The entrance level is given over to daily living, with a large reception hall leading to a bright living room and a substantial dining area that opens onto a wide balcony overlooking the Gannel and the open sea. A generous kitchen breakfast room, with adjoining utility space and cloakroom, completes this floor.
pstairs, all three bedrooms are well proportioned, fitted with wardrobes and served by their own bathrooms, allowing straightforward family use or guest accommodation. The lower ground floor adds two large rooms and a shower room, lending itself to work, leisure or overflow space.
Outside, terraced gardens descend to the water, where a private slipway gives direct access to the estuary. Secure parking and a double garage complete the property.
BRAMBLES Guide price: £2.75M
JACKSON-STOPS 01872 261160
cornwall@jackson-stops.co.uk
jackson-stops.co.uk
Always a pleasure, NEVER A CHORE
WORDS BY HANNAH TAPPING
Cornish creators become the muse for a collaboration that celebrates meaning and material.
My day always feels just that little bit better when I chat with Amelia Pemberton. Her positive outlook on life, combined with her gentle tone and inflection is balm for the soul. I first met Amelia when I wrote about her own limitededition designs: delightfully playful cotton and silk scarves and decadent silk pyjamas. But as with many of the most interesting people, Amelia has many other strings to her bow. Launched in 2019, DARN is Amelia's creative studio – a universe of play that moves between photography, art direction, design and events. Not least of these talents is her photography. Known for an authenticity and originality that is often lost in modern brand photography, Amelia’s gift lies in her ability to bring both the person and the product to life.
very best materials and makers, once you have purchased a jacket you get to watch its evolution firsthand. The eight-week make time is documented from the fabric production in the French mill to the jacket being sewn in the workshop in Guimarães in northern Portugal. No stock means no waste. All jackets are made to order, with offcuts from the making process recycled into new thread, and water used in the dyeing process cleaned and re-used onsite.
One of her latest collaborations is with the Paynter Jacket Co. Sold in limited editions just four times a year, these remakes of iconic chore jackets sell out within an hour of being released. Made using the
Six years on from its first release, Batch No.21 is the latest evolution of the Paynter Chore Jacket. Each version is more refined than the last, the fabric for this iteration was chosen for its quality and provenance. Sourced from near Alsace, the fabric was made in the last remaining corduroy fabric mill in France. The campaign for Paynter’s Batch No.21 was shot by Amelia. Working with ten local creatives across Cornwall, she brought the jackets to life in real-work settings.
darncollective.com paynter.co.uk
ABOVE
Through her venture - ettle - Cat collaborates on yearly editions of beautifully crafted objects centred around the kitchen. Cat also writes about figuring out life through food via her weekly newsletter Since No One Asked from her cottage in Penzance. atsarsfield
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As a sculptor, Cat’s artistry is all about carving out beauty from the physical landscape, both wood and stone are her canvas. Cat works out of Quarry House Studio, a collective that takes shape in a traditional Cornish granite quarry just outside of Mabe. cat.horton.studio
ABOVE
Having operated out of Spargo’s workshop for over a decade, and after years of making beautiful wooden objects for Gail’s Bakery in London, Felix’s craft of woodworking and furniture-making has led him to co-run Many Hands, a design and fabrication workshop specialising in furniture and architectural design. many-hands.co.uk
ABOVE
francli.co.uk
Ali is the founder of Francli, crafting leather and canvas goods out of her workshop studio in Argal Farm, Ali’s pieces are rooted in her love of the outdoors and making things thoughtfully.
ABOVE
hollybendall.com
ABOVE
Rich is the owner of Argoe in Newlyn. With an emphasis on sustainable sourcing and authentically local produce, Rich has managed to combine elevated woodfired cooking with genuinely community-focused dining. argoenewlyn.co.uk
ABOVE
Rich has been running allah, a coffee roastery overlooking the rolling hills of Falmouth, for just over ten years. Full of beans and passionate about provenance, Rich’s vision for Yallah is all about sustainable sourcing and social impact.
yallah o ee. o.uk
ABOVE
lovetts-newlyn.co.uk
Rohit and Emma, owners of Lovett's in Newlyn have turned this little corner of Cornwall into a community hub serving up natural wine, coffee, homemade sweet treats and the occasional dinner pop up featuring roving chefs.
ABOVE
rosalilyjames
Rosa’s pinch pot ceramics are a lesson in building worlds by hand. One half (or as she puts it, 50g) of Mud Club, Rosa makes beautiful objects out of clay and also teaches others how to hand-build through workshops and courses in Cornwall.
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Sam Bassett’s studio in Penzance is a rush of energy – jungle music at full volume and colour everywhere – which brilliantly reflects Sam’s paintings and sculptures, where texture, motion and colour collide. samuelbassett
A gin for ALL SEASONS
WORDS BY HANNAH TAPPING
Distilled at the water’s edge with a passion for exceptional spirits.
The rst age of alcombe in s story was turned in 2 1 . wo sailing instructors, ngus ugsdin and oward avies, who had met while wor ing at alcombe s sland ruising lub in 1 , shared a love for the ocean and a mutual a reciation of gin. would often be en oyed together after a busy day on the water, and the tal would turn to the dream of roducing their own world class s irit. ha ter two of this distilling tale saw ngus and oward ta e ste s towards realising their dream. ime s ent learning their craft, rst at the iconic ringban istillery in am beltown for ngus and then at ilchoman istillery on the sle of slay for both ngus and oward, hel ed them to understand the fundamentals of distillation. n returning to evon, they bought their rst still, a miniature 2. litre co er ot still, identical to the ones used in their gin school today.
ngus and oward wanted to roduce a com le gin, one that would s an a wide s ectrum of flavour. t had to be citrus forward harnessing the essence of the locally built 1 th century alcombe ruiters that lied their trade along e otic trading routes bringing e otic fruits into evon from the ores while also nodding to floral notes, s ices and herbs giving an underlying earthiness. asting fresh
botanicals was an im ortant art of the rocess and each day they would distil u to ve reci es which they would then blind taste at the end of the day. hey invited a gin committee made u of friends, family and those in the trade to tasting sessions and after 1 months of many iterations, a leading industry e ert said to them after a tasting, what are you waiting for and so they launched.
hree ey values which frame the business are erha s why it has been so successful. assion comes rst and ermeates throughout everything that ngus, oward and the alcombe team do. ntegrity comes ne t all the gin is distilled in alcombe, right by the water s edge. inally, there s uality and attention to detail. he air o enly admit that this is something which can ma e the rocess more challenging but it s what they live by and can be seen from the name, to the bottle, to the serve.
ver a eriod of two years which included building the distillery and endless reci e develo ment, the air released their rst gin alcombe in tart oint , named after evon s most southerly eninsula. ts reci e includes classic uni er, fresh red gra efruit and 11 other hand ic ed botanicals. t s as delicious as a si ing gin sim ly oured over ice as it is served with a
QUENCH
good uality tonic the addition of a slice of red gra efruit elevating the occasion. t received several accolades within its rst year of roduction, not least of which was old at the orld in wards and ouble old at the an rancisco orld irits om etition. rue to their love of the ocean, 1 of every bottle of alcombe in tart oint sold is donated to the arine onservation ociety to hel rotect and regenerate recious ocean habitats.
he alcombe in family has grown year on year, each new reci e undergoing the same attention to detail as the rst. ward winning alcombe in os ainte arie , is a editerranean dry ros gin with no added sugar. t features delicate flavours of fresh lemon eel, rovence herbs, in e ercorns and sun drenched strawberries. t s named after the iconic ainte arie lighthouse, mar ing the southern entrance to the ld ort of arseille, from where 1 th century alcombe ruit chooners loaded citrus fruits and herbs bound for ngland s orts.
he oyager eries is a collection of limited edition gins, each develo ed in collaboration with a world renowned chef or iconic winema er, intended to reflect their individual ersonality and style. aring, roduced in collaboration with ichelin starred chef aul insworth, evo es a sense of the sea ins ired by the oyster dish, ale of orthilly, served at aul insworth at o in adstow. adstow was once a thriving ort and aring is a tly named after one of its merchant shi s that trans orted s ices all over the world. ther s ecial releases include our eas by alcombe in, from which 2 of net sales are donated to the arabelle in, created in artnershi with and distilled on board the world s
rst two distilleries at sea and a brace of small batch rum that is no sooner roduced than sells out.
ou ll nd alcombe in s brand home and gin school in a toes in the water osition on sland treet. nce the home to the sland ruising lub boatyard, it feels li e the tale has come full circle. amed the oathouse in honour of its heritage, the building now houses alcombe in s beautiful litre co er still named rovident after the ruising lub s classic ri ham trawler, a cherished art of their fleet. here better to discover the art of distillation for yourself ward winning alcombe in chool offers the o ortunity to learn the art of gin distillation in this stunning waterside location. nder the guidance of alcombe in s e ert distillers, you ll ta e charge of a beautiful mini co er ot still to develo , distil, bottle and label your own cl bottle of gin, which you get to ta e home in a wooden resentation bo as a erfect memento of the day.
or the discerning gin lover, an e traordinary new e erience from alcombe in is set to turn the tables on the lu ury s irits mar et. he alcombe in each utler is an e clusive service where guests are invited to en oy unlimited and e ertly crafted coc tails delivered directly to their chosen coastal location, roviding a rare o ortunity to savour award winning gin in some of the outh est s most ictures ue surroundings. he service begins with a refreshing signature serve, alcombe onic, followed by a choice of unlimited coc tails from a carefully curated coc tail menu. im ly choose a time and location and the alcombe in each utler will arrive to do the rest. reathta ing locations include stunning alcombe, ichael aines s lu ury ve star country house hotel,
QUENCH
ym stone anor near mouth, bouti ue cliff to s a hotel, ara oc otel, near ast ortlemouth and overloo ing the sandy shoreline of outh ands beach from outh ands otel.
ym stone anor, is the vision of chef owner ichael aines . hrough his ins iration and drive, the rade listed eorgian manor house has been imaginatively restored into a lu ury country house hotel and it holds wo eys, in the ichelin otel wards, a ichelin star and osettes. ts vineyard, within the heart of the grounds, has 1 , vines and roduces award winning single vineyard status wines. ere, alcombe in each utler is available to residents rela ing at their outdoor ool with views across the vineyard, the e stuary and the urassic oast. he service can also be added on to their tran uil he herd s uts nestled in ym stone s woodland overloo ing the vineyard. clusive coc tails created for this e erience, include a ym stone ummer lush and the alcombe gro ino, both combining ym stone anor state lassic uv e and alcombe in tart oint . or a truly e ce tional occasion, guests can also air the service with ym stone anor s rivate e erience, available e clusively at their he herd s uts, allowing them to have a rivate chef and alcombe in each utler.
n a cli o with far reaching views of the evon coastline, ara oc otel offers the ultimate esca e for anyone craving eace and natural beauty in lu urious surroundings. erfect for rela ed evenings, alcombe in each utler is also available to residents of their three s ectacular ut of the rdinary suites. hether en oyed in the secluded, glass fronted he ecret uite, breathing in the sea air from the
terrace of he ignal ouse or entertaining in the lush enthouse uite, alcombe in each utler is a wonderfully indulgent e erience. o create an unforgettable stay, guests can re uest that the butler oins them for rivate alfresco dining or sunset drin s on their suite s terrace at the evon retreat, with coc tails including alcombe reats, a delicious alcombe in, red gra efruit uice and cr me de m re coc tail.
he views from the inde endently owned outh ands otel aint a blissful beachfront canvas. clusively available to guests staying in their lu urious lass uite or each uites, the alcombe in each utler e erience is designed to ma e every stay unforgettable. rom the rivacy of guests own terrace or balcony, they can soa u uninterru ted views of the serene alcombe estuary while their ersonal each utler serves erfectly crafted coc tails. ighlights include alcombe in and outh ands otel s signature serves, such as the elegant alcombe , a refreshing blend of alcombe in, ham agne and lemon.
hether rela ing on a eaceful stretch of beach in or around alcombe, en oying the views from one of ara oc otel or outh ands otel s rivate suite terraces or balconies, or nestled in the seclusion of ym stone anor s he herd uts, guests of alcombe in each utler can en oy beautifully re ared coc tails without having to move a muscle.
For those not able to make the journey to the coast, Salcombe Gin is also available from Fortnum & Mason, Selfridges and a selection of t e ’s nest outi ue ars and -star hotels. Prices for Salcombe Gin Beach Butler are from £1,000 for two.
salcombegin.com
Lose track OF TIME
WORDS BY JAMIE CROCKER
SExceptional hospitality and reassuringly good food combine to stop the clock.
hould you find yourself in Topsham, casting around for somewhere to placate those tummy hunger trolls, then The Galley estaurant, at ore Street offers something to keep them at bay. or more than years, it has held a prominent place in town’s food scene, consistently earning a reputation for serving the very best of Devon on a plate. rom the get-go, the restaurant has been guided by a simple principle exceptional ingredients, treated with skill and respect, make for exceptional dishes. eith loyd would have been a diner here.
Over this time, The Galley has developed a distinctive identity, shaped by the passion of its chefs, the loyalty of its suppliers along with the dedication of its team. Its status as an independent, stand-alone fish and seafood restaurant has been strengthened by numerous accolades, including the retention of a ichelin ib Gourmand, a reflection of both consistency and a high level of creativity in the kitchen.
ore to The Galley’s philosophy is sourcing. The team works closely with people from the South est, drawing from rixham and ewlyn fish markets, local farms and a raft of independent producers. ish and seafood arrive fresh each day, vegetables are cultivated nearby and meats come from
trusted local farms. Even the ice cream on the dessert menu is carefully chosen from Granny Gothards in ullompton. This network of relationships allows The Galley to showcase the diversity and uality of Devon’s produce, from dairy and microgreens to game, meat and fish, while honouring the integrity of each ingredient. Sustainability is held aloft as a guiding principle every choice in the kitchen reflects a responsibility to the environment, the local economy and to those who will come after.
The estuary setting of Topsham is integral to the restaurant’s appeal, with its location informing the menu rather than the other way around. It’s a measured focus that reflects both what is abundant in the region and what is at its freshest. Daily conversations with fishermen and local small holders ensure that the dishes served are always aligned with seasonality, whether that means adapting to changes in fish size, availability, or weather conditions. hen storms recently prevented the team from sourcing plaice, the chefs adjusted the menu to adapt to what was available, demonstrating flexibility and expertise in e ual measure.
The Galley’s approach to cuisine is characterised by a balance between tradition and innovation. lassic dishes
TOP LEFT
Littlepod vanilla rice pudding, blackberry pur e with fresh blackberries
ABOVE LEFT
onfit organic chicken leg, bacon mushroom sauce, shimeji la grec ue
ABOVE RIGHT
St Austell mussels, Sandford Orchard cider, cream sauce TOP RIGHT
Slow soy braised pork belly, crispy rice cake, pickled slaw, sesame mayonnaise
A Cornish Retreat for Every Kind of Escape
Set across 45 acres of peaceful countryside, Old Lanwarnick is a place to breathe, explore and unwind. Enjoy woodland walks, enclosed dog fields and friendly animals - from our gentle alpacas to playful pygmy goats.We’re proud to be eco-conscious, caring for our land and wildlife with sustainable practices. Stay in luxury glamping pods, converted stables, or our 17th-century farmhouse for 8. Larger groups can book multiple cottages for up to 37 guests. Just a couple of miles from the coast and close to popular attractions like The Eden Project, Old Lanwarnick is the perfect base for relaxation and adventure.
nudge shoulders with contemporary creations that draw upon a subtle fusion of influences, including Asian flavours. The head chef’s favourite, a pan-fried sea bream with puttanesca sauce and crispy capers, epitomises this philosophy. The dish is deceptively simple the bream itself is fresh and unadorned, yet it is complemented by a complex, bold sauce that elevates the flavours without overshadowing the fish. It’s a considered approach that allows the ingredients to shine while adding layers of depth.
ecognition and awards have followed, reflecting the dedication and skill of the entire team. etaining the Michelin Bib Gourmand since , having previously won ichelin lates in and , alongside accolades from Taste of the est, ood Drink Devon and Hardens, demonstrates consistency and excellence. or the team, these achievements are a source of pride but also a reminder of responsibility to continue inspiring the next generation of chefs and to maintain standards that attract aspiring culinary talent to the restaurant. The awards are not merely for decorating the restaurant, they are a tangible a rmation of effort, skill, and the collaborative spirit of the kitchen and front-of-house staff. At its core, The Galley aims to provide an experience rather than one that expands the waistline.
with the desire to return. Every aspect of the dining encounter, from the sourcing of ingredients to the presentation of the final plate, is part of a considered process. The team invests in understanding its clientele, maintaining a balance between satisfying long-standing local patrons and attracting a new, younger audience eager to partake of creativity expressed on the plate inspired by seasonal variation.
Looking to the future, the restaurant’s culinary direction continues to evolve. enu innovations remain an ongoing priority, with a strategic focus on introducing fresh influences without compromising the integrity of traditional seafood dishes. lose collaboration with sustainable producers ensures that expansion does not come at the expense of environmental stewardship. ethods such as fly fishing, a no big net habitat-conscious approach to fishing, and partnerships with Oak ark Dairy, which prioritises conservation and sustainable farming, reflect a broader commitment to community and land.
That’s not to say that the offer is stingy. Guests are invited to enjoy plates that deliver taste, uality, freshness under the auspices of attentive service, leaving them
In every sense, The Galley is a celebration of Devon. Over the past three decades, it has traversed the path between reputation and ambition, with an exemplary degree of skill, aided by an eye focussed upon its original ethos to showcase the very best of the region in the best possible of ways. So, while it’s cool, it’s also rather laidback, and the menu won’t frighten even the tamest of diners.
galleyrestaurant.co.uk
TPan-fried sea bream, puttanesca sauce, crispy capers, pickled guindilla chilli
his dish brings together bold southern Italian flavours with clean, precise fish cookery. The puttanesca sauce is rich yet vibrant slow-cooked tomato pulp forms the base, layered with anchovies that melt into deep
SERVES 1
INGREDIENTS:
Puttanesca Sauce:
g cherry tomatoes, halved
large banana shallot, thinly sliced
g anchovies in oil
clove garlic, finely minced
g sun-dried tomatoes, sliced basil leaves
g mixed alamata olives, sliced into rings
umami, briny capers and olives, gentle heat from guindilla chillies, and freshness from lemon zest and basil. The result is savoury, salty, slightly spicy and lifted with acidity, designed to complement rather than overpower the fish.
stick celery, peeled and thinly sliced est and juice of lemon
20g Lilliput capers
30g tomato paste
Tomato pulp
g guindilla chillies, finely chopped
Salt and sugar to taste
Olive oil
Pan-seared wild ream:
g wild bream fillet
20g cold unsalted butter
Salt, to taste resh thyme
Lemon juice
Rapeseed oil
Crispy Capers: apers brined) eutral oil, for frying
METHOD
For the sauce:
repare all ingredients before cooking.
Heat a generous amount of olive oil in a saucepan over low medium heat. Gently sweat the sliced shallot and minced garlic until soft and translucent, without colouring. Add the cherry tomatoes and cook until they begin to burst and release their juices. Stir in the tomato paste and cook for minutes to remove its raw flavour. Add the tomato pulp and bring to a gentle simmer.
Season lightly with salt and a pinch of sugar, adjusting to balance acidity.
emove the pan from the heat. old in the anchovies, olives, capers, sliced celery, sundried tomatoes, lemon zest, and lemon juice.
Add the chopped guindilla chillies and adjust seasoning if needed. inish by gently folding through the basil leaves.
The sauce should be bold, balanced, and aromatic, with freshness from the lemon and basil. est rested for a few minutes before serving to allow flavours to meld.
For the fish
Trim the belly neatly and lightly score the skin. at dry thoroughly with a clean cloth, then season the skin side lightly with salt. risp skin is key, so ensure the fish is fully dry before cooking.
reheat a non-stick pan over a medium heat. Add a small amount of cold-pressed rapeseed oil. lace the bream skin-side down into the
pan. ress gently but firmly to ensure even contact with the pan. ook for approximately minutes, or until the skin is golden and crisp. lip the fish carefully. Add the butter and thyme to the pan.
Once the butter has melted and begins to foam, baste the fish continuously.
Add a dash of lemon juice to brighten the flavours, then remove the fish from the pan. Transfer the bream to a drip tray and allow it to rest briefly until ready to serve.
For the capers:
Drain the capers thoroughly, discarding the brine. Spread the capers onto a clean cloth and
pat completely dry. Heat neutral oil to . ry the capers for minutes, or until puffed and crispy.
emove using a slotted spoon and drain on kitchen paper. Allow to cool completely set aside until ready to use.
To finish
Once all components are ready, spoon the puttanesca sauce onto the plate. arefully place the perfectly cooked bream on top, skinside up.
inish with a light drizzle of olive oil and a scattering of crispy capers for added texture and salinity.
A glassWELL CHOSEN
WORDS BY JAMIE CROCKER
A Redruth wine bar shaped by long experience and a measured approach.
Cooper’s Bar opened in Redruth as a natural extension of its owner’s established work in hospitality. The bar grows directly from years spent running Philleigh Way Cookery School and Cove Café, drawing on daily contact with guests, food and drink. It reflects a considered knowledge of how people like to socialise, observed over many years working within the hospitality sector.
ine sits resolutely at the centre of the offer and is treated as something to be indulged in and talked over. Extensive experience of pairing wine with food has informed how the list is constructed, but Rupert’s personal taste plays a central role, too. Bottles are chosen for clarity of flavour and fairness of price, to encourage curiosity. The range moves across countries and styles, bringing together familiar names and lesser-known producers. Each wine earns its place by how it ‘drinks’ and how it works alongside food. Enquiries about the list are handled plainly so that guests never feel intimidated.
The bar’s programme of events follows the same thinking. ‘Origin Nights’ began in earnest in January, with an evening focused on Portugal, built around a four-course menu with matched wines selected to complement the dishes. Further
tastings developed through Cove Café are planned, alongside Cooper’s Club, a series of informal wine education evenings that invite participation and discussion, culminating with a certificate at the end of the session. Daytime use of the space is also being explored, including a weekly lunch book club where recipes are drawn from the shelves and paired with a carefully chosen glass.
Running a bar has required close attention to costs and day-to-day decisions. That awareness shapes how Cooper’s operates, from pricing to portion size, and supports an atmosphere that feels warm and welcoming. Food is presented to be shared, tables are arranged to encourage conversation, whilst service is respectful of the space rather than the clock.
Cooper’s Bar is intended to function as a social space within Redruth. As such, regular custom is encouraged, with a view to spreading positive reports, bringing more dedicated wine buffs and the curious to its door. It offers an alternative to the local pub, suffusing a hint of continental sophistication but without the pretention.
cooperswinebar.co.uk
A year in a
COTTAGE KITCHEN
WORDS BY MADELEINE OLIVIA | IMAGES BY ALI GREEN
My Life in Cornwall.
Looking out the window, I saw hedgerow after hedgerow pass as the roads got narrower and the sun began to set. After a long journey from Surrey, we crossed a small bridge over a river and climbed a winding hill that reached an old farmhouse on the edge of Bodmin Moor. I was just three years old when my parents decided to move to Cornwall, and it has been my home ever since. I’ve lived in Scotland and Brighton, travelled the world, and yet there is nowhere else that I love more than this county. As I’ve gotten older, I’ve moved further into the depths of Cornwall, where the two coastlines narrow closer to one another. Where farmland, moorland, woodland and white sandy beaches are abundant. In spring the granite hedgerows explode into multicoloured displays of wild flowers, while the sun of high summer reflects on the a ua blue waters of small coastal villages. Wild mushrooms pop up their heads in ancient woodlands in autumn as the leaves fall to create carpets of red and orange. The rugged coastlines are beaten by crashing waves in winter, as the crowds disperse and the locals cosy up next to a fire in an old pub.
200-year-old Georgian farmhouse a few years ago after deciding West Cornwall was where we wanted to settle. This home was something I had always dreamed of a huge wisteria growing up the back of the cottage, an old-world kitchen complete with exposed beams, granite surround fireplace and Aga range, and cosy rooms that we could make our own. We have renovated and redecorated throughout to bring life and colour into the cottage, starting with my sanctuary: the kitchen. This is where I created all the recipes in this book, filmed every one of my videos, shared meals with my nearest and dearest, and spent countless mornings enjoying my coffee. A forever home that feels like an extension of our family.
As I write this, I look out of the window to rainy late spring showers, the wisteria hanging down and the green bushy trees swaying in the wind. Just 15 minutes away is the north and south coasts, home to the most beautiful beaches I’ve ever seen in my life. Crystal clear shorelines, long stretches of beautiful white sand and dramatic rock formations that never fail to take my breath away. This is my home. We moved to our
We felt the pull to return to Cornwall after a trip to the other side of the world and a short stint in Brighton, to slow down our pace of life. The feeling of being cut off from the world is one I uite like where the distractions and conveniences of modern life don’t uite reach the depths of this part of the country. While I live a lot of my life online, trying to keep up with the fast-paced nature of social media and algorithms, I can switch off at weekends to potter around the garden and buy second hand trinkets from the local car boot sales (swap meets). I wouldn’t change a thing and I invite you in to share a slice of Cornwall in my cottage kitchen for a moment of uiet among the chaos.
Extracted from A Year in a Cottage Kitchen by Madeleine Olivia (Quadrille, RRP £28) photography © Ali Green.
Stu ed hard Rainbow Rolls with Peanut ip
Ibrought these back into my kitchen after eating vegetarian summer rolls when I visited Southeast Asia. They
MAKES 8–10 ROLLS
Preparation time: 20 - 25 minutes
Total time: 20 - 25 minutes
INGREDIENTS::
For the Rice Paper Rolls:
8–10 rice paper rolls
1 bunch of rainbow chard
1 medium beetroot (beet), peeled and finely grated
1 carrot, thinly sliced
4 spring onions (s allions), halved and cut into strips
Large bunch of mint
Large bunch of coriander (cilantro) leaves, stems removed
METHOD
Whisk all the dipping sauce ingredients together in a bowl. Add a little hot water if it needs it to loosened or thinned. Set aside.
Heat a large saucepan of water until warm. The pan needs to be big enough to submerge the rice paper rolls. Submerge a rice paper roll into the warm water for 10–20 seconds to soften, making note of the smooth side (this is the outside o the roll). Don’t allow it to become too soft as they will be too fragile to roll.
Place the rice paper roll on a slightly damp wooden chopping board and in the centre add
are packed with crisp spring vegetables, wrapped in delicate rice paper and dipped in a creamy tangy peanut sauce.
For the Peanut and Coconut Dipping Sauce:
100 g (3½ oz) vegan coconut yoghurt
1 tablespoon peanut butter
1 tablespoon soy sauce
Juice of lime
3–6 tablespoons warm water
Drizzle of chilli oil
Sea salt and freshly ground black pepper
your fillings chard, beetroot, carrot, spring onions, mint and coriander. Fold the bottom over the fillings, gently roll over once, then fold over the sides and finish by rolling over to seal. Set aside and repeat with the remaining rice paper rolls to make 8–10 rolls. Serve straight away with the dipping sauce
he first ti e you do this it ay take a ouple o rolls to get the kna k I you have rolled a burrito be ore it is si ilar. o ake the easier to roll and seal ust ake sure not to under or overfill the .
Photography
Photography
Tofu, Coconut and Purple Sprouting Broccoli Curry
Gently spiced and fragrant, this curry is rich, creamy and refreshingly light. Purple sprouting broccoli is the perfect addition for the cusp of spring.
SERVES 4
Preparation time: 5 minutes
Cooking time: 25 - 30 minutes
Total time: 30 - 35 minutes
INGREDIENTS::
1 onion, finely chopped
400 ml ( o ) tin coconut milk
400 ml ( o ) tin chopped tomatoes
1 teaspoon brown sugar
2 tablespoons tomato pur e (paste)
1 block of extra firm tofu, pressed, drained and cubed
250 g (9 oz) purple sprouting broccoli, cut into large florets
Chopped coriander (cilantro), for sprinkling
Rice and/or Naan, to serve
METHOD
Start by making the curry paste. Lightly toast the coriander and cumin seeds in a dry frying pan for 2 minutes. Add them to a food processor with the remaining paste ingredients and blend to a smooth paste. Set aside.
Fry the onion in a large pan for 10 minutes, or until softened. Add the curry paste and fry for 2 minutes, or until fragrant. ou can add all the paste for a spicier curry, or reduce the amount to half depending on your spice preference.
Pour in the coconut milk, chopped tomatoes, sugar and tomato pur e and bring to the boil. Add the tofu and stir everything through the sauce. Reduce to a simmer and cook for 5–10 minutes until the sauce has thickened a little. Season with salt and pepper.
I enjoy a tofu curry most weeks, and for this one, the homemade curry paste can easily be made in batches, stored and used again for another uick and easy dinner.
For the Curry Paste:
1 teaspoon coriander seeds
2 teaspoons cumin seeds thumb of ginger, peeled and finely chopped
1 red chilli, finely chopped
1 lemongrass stalk, outer skin and tough ends removed, roughly chopped
2 garlic cloves, grated
1 shallot, roughly chopped teaspoon turmeric est and juice of 1 lime
3 tablespoons vegetable oil
Bunch of coriander (cilantro), including the stalks
Sea salt and freshly ground black pepper
Meanwhile, add the purple sprouting broccoli to a separate pan and cover with boiling water. Simmer for 2 minutes, or until softened, then drain. Sprinkle with a little salt and set aside.
Serve the curry with steamed rice, topped with the broccoli and a sprinkling of coriander. Enjoy with a side of naan, if liked.
Store any extra curry paste in an airtight container in the fridge for up to a week. If you want to make extra for another curry, simply double up the ingredients and freeze the paste. For crispy tofu, you can fry this separately in oil and season, then stir through once the sauce has thickened.
Sa ron Buns
Saffron buns are a cherished Cornish classic. Delicate, buttery and sweet, infused with aromatic saffron, I remember loving these when I was growing up. There is also a cake version.
MAKES 8–10 ROLLS
INGREDIENTS::
Very good pinch of saffron threads (about 5 g/¼ oz)
300 ml ( 0 o ups) oat milk
140 g (5 oz) vegan butter
500 g ( lb 2 o ups) strong white bread flour, plus extra for dusting
1 teaspoon ground cinnamon
7g (¼ oz) sachet of fast-action dried yeast
METHOD
Heat the milk in a saucepan to almost boiling point. Remove from the heat. Crumble the saffron threads between your fingers over the pan and stir through. Add the butter and stir until melted, then leave to infuse for 15–20 minutes.
If using a stand mixer, add the flour, cinnamon, yeast, salt (keeping the salt separate ro the yeast) and sugar to the mixer fitted with a dough hook and pour in the saffroninfused milk. Mix slowly and knead for about 5 minutes.
If kneading by hand, in a large bowl, add the flour, cinnamon, yeast, salt (keeping it separate ro the yeast) and sugar. Make a well in the centre and pour in the saffron-infused milk. Stir to combine, then turn out onto a lightly floured work surface and knead for 5–7 minutes until the dough is soft and elastic.
Add the sultanas and knead for a few more minutes until the dough is springy (it should boun e ba k when pressed).
Cover the bowl with a damp tea (dish) towel and leave the dough to rise in a warm spot for
1 teaspoon salt
50 g (1¾ oz/¼ cup) caster (superfine) sugar
100 g ( o generous up) sultanas (golden raisins) or raisins
For the Glaze:
50 g (1¾ oz/¼ cup) caster (superfine) sugar
3 tablespoons water
45–60 minutes until doubled in size. Line a large baking sheet with baking parchment.
Turn the risen dough out onto a lightly floured work surface, then knock back (taking the air out of the dough) and knead for 1 minute.
Cut the dough into 8–12 pieces. sing your hands, roll each piece into a ball. Fold the outside of the dough into the middle, rotate and repeat until you have formed a tight ball. Arrange the dough balls on the lined baking sheet, leaving enough space between each bun, then cover and leave in a warm spot to prove for a further 30 minutes, or until risen.
Meanwhile, preheat the oven to 200 C fan (425 F).
Bake the risen buns for 18–20 minutes until beautifully golden.
Meanwhile, make the glaze. Bring the sugar and water to the boil in a pan for about 1 minute to dissolve the sugar. When the buns are ready, remove them from the oven and place on a wire rack to cool. Brush the glaze over the top of each bun straight away.
Photography
Green
A re-evaluation OF LIFE
WORDS BY JAMIE CROCKER
With many museums and art galleries going through a period of self-examination, Exeter’s does not shy away from its inheritance.
The Royal Albert Memorial Museum & Art Gallery (RAMM) is a Victorian institution that courageously challenges its genesis to show the world it has a contemporary grasp of what it has to be – to exist and to survive. Founded in 1868 to mark Prince Albert’s memory, it was conceived as a place where a growing city might meet the wider world through objects and ideas. Its Gothic Revival building, raised through public subscription, announced that learning was not to be sealed off in universities or private libraries but placed in the path of ordinary lives. From the outset, the museum amassed a wide range of materials: natural history specimens, archaeological nds from evon and beyond, ethnographic objects acquired through trade and travel, and works of art intended as points of enquiry. RAMM is neither a storehouse nor a
shrine. It is closer to a working reference library made physical, where the past is arranged so that it can be brought into the light of critical dialogue.
That philosophy was sharpened during the major redevelopment completed in 2011, when the museum returned with a new approach to display. Instead of separating disciplines into anatomised compartments, the galleries were rethought as conversations between geology, zoology, archaeology, ne art and social history. The result won the Art Fund Museum of the Year award in 2012, with judges praising the intelligence of the rehang and the refusal to patronise visitors. Since then, RAMM has built a reputation for accessibility. A quarter of a million people come through its doors each year, from school groups handling Roman pottery to researchers wor ing with its esignated World Cultures and Natural Sciences
© Simon Tutt
© Matt Austin
© Lily Holman
© Lily Holman
© Simon Tutty
ABOVE Ganesh Chathurti
TOP Are We Nearly There Yet, RAMM 2024
MIDDLE
Time Odyssey students exploring the museum
TOP Artist Charmaine Watkiss and RAMM curator Lara Goodband in Charmaine’s studio
ABOVE isi from the emocratic Republic of the Congo
ABOVE LEFT
Charmaine in RAMM’s World Cultures gallery June 25
collections, recognised for their national and international importance.
It is also a museum that understands that collections are not inert but exist in a shifting universe of new ideas and reinterpretations. Contemporary artists are invited to disrupt and interpret, to argue with what is in the cases and sometimes to contradict the labels. This winter and spring, that dialogue becomes particularly pointed with a major new commission by Charmaine Watkiss, developed in response to the museum’s West African holdings.
Watkiss’ project, From the ones who came before…, is rooted in archival research into the botanical knowledge carried from Africa to the Caribbean during the transatlantic slave trade. Resisting the temptation to present that history as a sequence of dates and statistics, she approaches it through what she calls “memory stories”: imagined voices of women who preserved the uses of plants as medicine, protection and ritual, passing them on under conditions designed to erase such knowledge. The commission consists of two new works installed directly into the World Cultures galleries, so that contemporary drawing
and sculpture sit in close proximity to the artefacts that prompted them.
he rst, Flash of the Spirit, is a large drawing in which Watkiss presents herself as a double gure, o ening her body to reveal leaves and roots associated with healing. Nearby stands an nkisi from the museum’s collection, a carved wooden gure created to hold substances believed to activate spiritual forces. The example Watkiss chose depicts a kneeling woman, once masked by a mirror that concealed a medicine bundle, now faded to reveal shells within. An X-ray shows a spiral shell laced between the gure s legs, associated with midwifery and cycles of life and death. Watkiss does not attempt to reconstruct the original meaning of the object. Instead, she places her own image in conversation with it, proposing continuity rather than explanation. Rivers to Cross, is a woven mask built from wood, straw and brass, modelled on a nineteenth-century Mukenga helmet mask from the Kuba people of what is now the emocratic e ublic of the Congo. The historic mask symbolised authority and descent from a founding ancestor said to have come from the sea. Watkiss’s version alters the function by adding a pouch containing dried
herbs and a written rayer. is layed alongside RAMM’s own collection of African masks, the piece insists on the afterlife of materials and motifs how they are broken, remade and recharged as people move. For Lara Goodband, the museum’s Contemporary Art Curator, “Her (Watkiss’s) thinking about ancestral spirits and lost connections through forced, enslaved migrations from Africa to the Caribbean has inspired these powerful, new works.”
If Watkiss’s work asks adult visitors to reconsider the moral and emotional weight of the museum’s holdings, RAMM’s next major exhibition is designed to wor at a different itch without simplifying its subject. Wow!
Amazing Science in Children’s Books, touring from the Museum of Somerset, opens at the end of January and turns illustration into a form of scienti c argument. It draws on the work of artists such as liver effers, olin ing and Yuval Zommer, whose books translate astrophysics, anatomy and ecology into images that invite active inspection as opposed to passive admiration.
Arranged thematically, the exhibition moves from the early history of scienti c
thought through to imagined futures sha ed by arti cial intelligence. long the way it auses to consider gures who changed how knowledge is organised, including Galileo, Ada Lovelace and Wangari Maathai. Children are invited to trace the structure of the human body, the mechanics of machines and the scale of the solar system through pages enlarged and mounted as works of art. A programme of Easter holiday workshops extends the exhibition beyond the gallery, with sessions on fossils, engineering, space travel and the digestive system, delivered by local science educators. Entry is free, reinforcing the museum’s long-standing position that curiosity should not depend on income.
unning in arallel is s rst exhibition devoted to Sir Grayson Perry. Aspects of Myself brings together ceramics, textiles, prints and tapestries in which Perry dissects the unstable business of identity. Works such as A Map of Days turn habits and anxieties into street plans, mapping inner life onto imagined towns. In Aspects of Myself and Mad Kid’s Bedroom Wall, fragments of childhood are ed into gla e and attern, at once comic and uncomfortable. The exhibition also includes elements from
TOP
Ada Lovelace illustrated by wen avey
ABOVE
Galileo illustrated by Chris Haughton
A House for Essex, the secular chapel erry built as a memorial to the ctional Julie Cope, shown here through tapestries and tile moulds that are rarely displayed together. Through them he examines aspiration, grief and class mobility using craft techni ues traditionally associated with devotion.
Taken together, these exhibitions demonstrate the museum’s direction. It is comfortable staging displays that interrogate an imperial legacy, actively commissioning work that examines the origins of its own collections. It continues to act as a municipal service, funded by the council and Arts Council England, inviting visitors to become participants rather than mere observers.
ABOVE
For visitors from Cornwall, as well as those making the pilgrimage from evon, the ourney bac home will encourage conversations that circulate around the institution s con dence to admit that its collections are incomplete, sometimes compromised, but always open to reinterpretation. Whether through Watkiss’s meditation on inherited knowledge, the illustrated mechanics of the natural world, or Perry’s forensic humour about identity, RAMM demonstrates that a regional museum can operate at an intellectual scale that is sometimes missing outside of the capital. In this sense, it is a dynamic civic resource that demands to be visited.
rammuseum.org.uk
erfect atch, rayson erry, 2 1 . rafts ouncil ollection 2016.18. Acquired with Art Fund support (with a contribution from The Wolfson Foundation) and a donation from Maylis and James Grand. Courtesy the artist, Paragon | Contemporary Editions Ltd and Victoria Miro.© Grayson Perry
Credit Matt Austin
