Issuu

Volume No61 £10.00

Painting

from FEELING A record of emotional response where the silence of the space plays it part

J O U R N A L

F O R

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T H E

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J O U R N A L

F O R

T H E

D I S C E R N I N G

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

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

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3 D R I F T J O U R NA L . C O. U K

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On the cover Pears 16x12cm (detail) by Iona Sanders as featured from page 61.

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es lover 07535 585613

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ISSN 2632-9891

DRIFT is published by: Leven Media Group LTD olbrook, The oors, orthleven, Cornwall T 13 J www.levenmediagroup.co.uk

© All rights reserved. Material may not be re-produced without the permission of Leven Media Group Ltd. While DRIFT will take every care to help readers with reports on properties and features, neither Leven Media Group Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Leven Media Group Ltd strongly advises viewing any property prior to purchasing or considerations over any financial decisions. even Media Group reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. Leven Media Group 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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Leven Media Group Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of this magazine. Leven Media Group Ltd is a multi-platform media business with a passion for everything Cornish. Visit www.levenmediagroup. co.uk to find out more. ur mission is to create A -WATC I NC media opportunities marrying together consumers with the fabulous businesses across Cornwall. ur publishing and marketing teams are specialists in creating print and online communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and maga ine experience we develop effective communications that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.

05/11/2026 15:21

T E A M

Foreword We are surrounded by things that deserve a closer look. The character of a landscape, the history held in an old piece of timber, the skill behind an apparently simple object, or the way a building can shape the experience of those who spend time within it. Yet it is easy to overlook these details when life is lived at pace. There is value in taking the time to understand what lies beneath the surface and to recognise the thought and experience that give something its character. ften, it is these less obvious qualities that make the greatest impression. That idea runs through many of the stories in this volume. With olhawn ort 14 we explore the growing appeal of slower weddings, suggesting a welcome shift away from the pressures of a single, carefully choreographed day towards something more relaxed and personal. While at Shillingham ineyard 32 , the amsden family is finding new possibilities in familiar ground, responding to the qualities of the land and the

demands of a changing climate. lsewhere, Ally raser 3 sees potential in the imperfections of reclaimed materials, while Jenny ogers 75 reveals the considerable skill and judgement involved in creating something as seemingly straightforward as a pair of curtains. There are other perspectives on the value of looking closely. avid Stamp s maritime paintings 82 draw on a lifetime s relationship with the sea, while an artistic collaboration in e 8 explores the meeting of two cultures through colour and shared imagination. ven the technology we introduce into our homes raises questions about how complexity can be made to work seamlessly in the background, leaving us free to enjoy the things that matter. As you make your way through this volume, the narratives offer fresh perspectives on the things we encounter every day. ach offers its own invitation to explore further and to take something away that may stay with you long after you have turned the final page.

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AWARDS 2026

WE ARE DELIGHTED TO ANNOUNCE THE WINNERS OF THE DRIFT AWARDS 2026 Congratulations to all our nominees and winners and a huge thank you to our sponsors.

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AWARDS 2026 W

E P I C U R E

C R E A T E

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R E T R E A T

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A B O D E

I N S P I R A T I O N

KAST Architects

Sailing Yacht Silvio

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FERNLEIGH ROAD | WADEBRIDGE | CORNWALL PL27 GUIDE PRICE £795,000 A DISTINGUISHED PERIOD HOME OF EXCEPTIONAL CHARACTER AND STYLE, BEAUTIFULLY ENHANCED FOR MODERN LIVING IN A HIGHLY SOUGHT-AFTER WADEBRIDGE SETTING. Spring Fontein is an impressive and beautifully presented period home, occupying a desirable position on Fernleigh Road within a short walk of Wadebridge town centre. Having undergone significant improvement throughout our clients’ ownership, the property combines the elegance and character of its original architecture with a stylish and considered modern finish. Offering generous and exceptionally light accommodation arranged over three floors, the house retains a wealth of attractive period features, including tessellated flooring, original stained glass, parquet flooring, exposed floorboards, feature fireplaces, ceiling roses, sash windows and attractive bay windows.

Cornwall Branch 01872 261160

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ANTONY PASSAGE | SALTASH | CORNWALL PL12 GUIDE PRICE £700,000 A RARE WATERSIDE COTTAGE IN THE HISTORIC HAMLET OF ANTONY PASSAGE, WITH DIRECT ACCESS TO THE TIDAL WATERS OF RIVER LYNHER. Set in the heart of the charming and historic hamlet of Antony Passage, Hawthorn Cottage is a rare waterside residence offering timeless character, superb period features, and direct access to the tidal waters of the River Lynher. Antony Passage has long been a favoured destination for boating enthusiasts and waterside living, offering a quintessential Cornish maritime lifestyle with private moorings and proximity to the river’s navigable estuary. From the cottage, residents can enjoy ever changing estuary vistas, watching the tides, local wildlife, and passing boats, creating a tranquil and atmospheric retreat.

cornwall@jackson-stops.co.uk

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EAST TAPHOUSE | LISKEARD | CORNWALL PL14 GUIDE PRICE £950,000 AN EXCEPTIONAL 3-BEDROOM RURAL RETREAT WITH SUN-FILLED CONSERVATORY AND 9 ACRES OF STUNNING LANDSCAPED GROUNDS. Sunnydene is a striking south-facing detached residence, privately set within approximately nine acres of pasture and formal gardens, offering a rare combination of seclusion and accessibility. Completed in 2015 to an exacting standard and covered by an NHBC Warranty, the property boasts exceptional eco credentials, including Solar PV and Solar Thermal systems. Approached via a private driveway of around 185 metres, the house features elegant granite elevations and extends to approximately 1,948 sq ft. The heart of the home is a superb open-plan living room and kitchen, appointed with oak work surfaces, integrated appliances including hob, oven, dishwasher and wine cooler, as well as oak flooring throughout the kitchen and dining areas.

Cornwall Branch 01872 261160

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OLD HILL | GRAMPOUND | CORNWALL TR2 OIEO £650,000 A CHARACTERFUL DETACHED HOME, FLEXIBLE ACCOMMODATION, BEAUTIFULLY ESTABLISHED GARDENS, ENJOYING A HIGH DEGREE OF PRIVACY ONTO OPEN COUNTRYSIDE BEYOND. Box Cottage is an attractive and substantial detached home occupying a wonderfully established setting on Old Hill, close to the historic village of Grampound. Set within exceptional mature gardens which directly adjoin open countryside owned by the Trewithen Estate, the property enjoys a high degree of privacy and seclusion while remaining conveniently positioned for village amenities and excellent connections across mid and south Cornwall.

cornwall@jackson-stops.co.uk

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C O N T E N T S

At a glance 14 L O V E I N T H E W A L L S

A drawbridge between you and the rest of the world

23 S T A Y A W H I L E A coastal destination that understands the pleasure of time well spent

32 H A R V E S T F O R T H E F U T U R E With its first commercial wines now on sale, a family venture begins to gather pace

58 S I M P L I F Y I N G T H E C O M P L I C A T E D Good home technology can make everyday life easier to manage

61 P A I N T I N G F R O M F E E L I N G For Iona, painting makes sense of the life around her

68 T H E L O N G W A Y W E S T Electric dreams, Atlantic swells and a little Cornish escapism

39 A D I F F E R E N T W A Y O F S E E I N G 75 T H E M E A S U R E O F T H I N G S Ally Fraser discovers poetry in the overlooked, Curtain Maker Cornwall has evolved way beyond its humble origins

making and creating with curiosity

82 T H E S E A W I T H I N

48 T H E G O L D E N H O U R

A lifetime at sea inspires David Stamp’s evocative paintings of maritime life

Discover Michael Spiers and find the perfect piece to gift or wear this festive season

50 T H E S O U N D O F S L E E P An evening of sound healing opens a wider conversation about sleep

89 A N A P P O I N T M E N T I N F E Z Time spent in Fez is an experience for the senses

13 D R I F T J O U R NA L . C O. U K

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Love in

the WALLS

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

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I N SPI R AT I O N

A drawbridge between you and the rest of the world. Polhawn Fort’s Teresa Wicksteed on why more couples are choosing a longer, so er we ing.

as Teresa explains: “Inside, Polhawn Fort is warm, comfy and very welcoming. One of our couples said: ‘There is Love in the Walls.’ It’s surrounded on three sides by the sea, has breathtaking wild landscape and gardens, and its own beach and sauna accessed privately from the lawns.”

uilt 160 years ago to defend Britain from invasion by France, Polhawn Fort was bought by John and Teresa Wicksteed in the 1 80s. After undergoing a full restoration, it became one of the first dedicated licensed wedding venues in the , with the first couple to be married there by a registrar in 1995 returning in 2025 to celebrate their 30th anniversary. Its history can be felt in the very walls, and in conversation with Teresa I discover why it has become such a sought-after venue for those looking for more considered nuptials.

With the rise of slow weddings, Polhawn Fort fits the bill perfectly. “We have been running weddings for 30 years, so have experienced some of the anxiety and stress that a wedding celebration can entail. The bridal couple and bridal party is on show to their guests and sometimes wider world, especially now in the age of Instagram. Couples now want to feel relaxed, prepared and supported on their wedding day,” says Teresa.

This Victorian granite fort, with eight-foot-thick walls in places, arched and vaulted brick ceilings, a drawbridge, moat, turrets and impressive spiral staircases, frames a softer interior,

MAIN Combining heritage and hospitality

INSET Sauna view across the bay

D R I F T J O U R NA L . C O. U K

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I N SPI R AT I O N

Polhawn Fort where they can be Prince and Princess of their very own castle.”

Instead of tightly packing all the celebrations into one day, at Polhawn Fort you can soak up the magic over a number of days and nights. A slow wedding here is one with more time, more relaxation and more opportunities to connect and create memories with friends and family. “Each wedding stay involves at least two nights, adds Teresa, often with requests for longer, meaning there is time for rest and relaxation and being in the moment either side of the big day. Cornish registrars can also build slow rituals into the legal ceremony; for example, warming the rings, stop the clock or tying the fisherman s knot, all making time to take a breath and reflect.

Every aspect of a Polhawn Fort wedding is considered from the moment of arrival. The experienced team assists guests with settling in, making sure that all is as expected and hearing any last-minute requests or issues any couples will have visited the fort a few times between their booking and their wedding stay, so most already feel as though it is their own familiar special place,” says Teresa. “For midweek weddings, Tuesday is often the day of the wedding ceremony, but couples can choose any days of their stay. The morning can often be filled with the hustle and bustle of hair and makeup and preparation alongside caterers, videographer and photographer, while some couples opt for a calmer approach with an early morning swim and sauna or a gentle walk to Rame Head. Ceremonies can be arranged from early morning to evening, with many taking place in the beautiful gardens and couples will almost always go down to the beach for some quiet time together after the event. The evening is usually a traditional wedding party celebration inside the fort with the team on hand throughout ensuring everything runs smoothly.”

With more couples swapping flyaway honeymoons for post-wedding mini-moons, I’m keen to hear Teresa’s thoughts on the matter. “We’ve noticed this shift during the last year and it s influencing couples booking for 2027 and 2028. Many couples mention that they might have thought of a “destination wedding” abroad, but tricky situations in airports and the costs associated with their whole family getting out there, have encouraged them to seek Cornwall as an alternative destination. With this year’s climate being positively Mediterranean, almost every wedding this summer has been outside in the sun! Some couples may book four nights, get married on the first day, and then once their guests have left, spend the remaining days enjoying a private mini-moon at

Once the wedding is over, there’s no prescription for how the remaining days are spent, as Polhawn Fort becomes a totally private space to be enjoyed by the wedding party. “Many groups will rise late and enjoy brunch together.

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A B OV E Your wedding, your way

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A B OV E Celebration and connection at your own pace

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I N SPI R AT I O N

Some may go out for a run along the coast path, or take a leisurely walk to the medieval ruined chapel on Rame Head, while others will enjoy time around the wood fire in the reat all. There s the option to venture down to the beach for a wild swim and sauna, or enjoy a game of tennis overlooking the sea or some lawn games. We now have an iconic red telephone box in our grounds, filled with books, providing an escape of a different kind. There are many idyllic secluded spots inside and outside, where you can sit or lie and soak up the sounds of the sea, without traffic or outside intrusion. Every couple is unique and this time is all their own; sometimes it’s really refreshing not to have a timetable,” says Teresa.

lead a couple or group from the beach, and can also guide individuals or groups running along the coast path. In fact, most activities can be catered for, as the Rame Peninsula is a chosen area for many wellbeing practitioners.

I ask Teresa what it is about Polhawn’s setting that suits a slower approach to a wedding and honeymoon: “Polhawn Fort’s location on the Rame Peninsula is something of a forgotten corner of Cornwall; an area bypassed by most driving west towards Land’s End. At the end of its half-mile private drive, there is no intrusion from external visitors, except the occasional wild ones! Badgers, foxes, deer, many rare bird species, dolphins and the occasional nonthreatening basking shark are sometimes spotted. Being surrounded by water at Polhawn Fort, you benefit from that blue-space wellness which encourages calm, slowing breathing, lowering cortisol and blood pressure.”

The wellness offerings come in many guises at Polhawn Fort. Bespoke couples’ massages are a wonderful chance to dispel tension and connect, with yoga, held both inside and out, being very popular. A group Sound Bath can be organised, while local sauna masters can create tailored couples’ sauna rituals. For a more active approach, a local expert can lead an exhilarating coast-path walk to forage for wild plants and flowers, which are then woven into a delicious, nutritious lunch. For the most energetic, a specialist paddleboarding instructor can

Teresa tells me of a recent wedding at Polhawn Fort which truly embodied this spirit of slowing down. It included two ceremonies one intimate affair at sunset and one with more guests on the beach on a low spring tide the following day. As it was the joining of two families

INSET Designed for restorative sleep

D R I F T J O U R NA L . C O. U K

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I N SPI R AT I O N

few months in advance. “There’s still plenty of time to plan your wedding in that time, especially if you are flexible about dates, and we can help with recommendations and plans for everything you may need. Our long weekends are still usually the first to book, so a midweek stay is sometimes available as a last-minute special deal.”

with children, time was spent chatting, swimming and playing on the beach, with games on the lawns. But the story is best told in the words of the bride herself: “It felt like the happiness and excitement of Christmas morning, mixed with the emotion of one of the most important moments of your life. Everything seemed to happen at once, and you wanted to hold on to every second. Having four days to celebrate gave us so much more than a wedding day; it gave us memories, moments with the people we love and an experience we’ll carry with us long after the celebrations were over.”

For couples considering a slower wedding, I ask Teresa for her thoughts on planning the days either side of the ceremony so the whole stay feels unhurried: “My best advice is to take advantage of our many years of experience of weddings and plan only a few things for those extra days in advance. After all, you may just want to quietly soak up the atmosphere, sit on the beach, or order fish and chips, or pasties on a whim! Polhawn Fort is a blank canvas, so you can arrange your wedding stay exactly as you wish, and every wedding here is special and different. ur experienced team can help you plan your wedding day, with advice at every stage, and you can visit Polhawn Fort as many times as you like between booking and arrival, so by the time of your celebration, you are stress-free and familiar with everything. Many couples say that makes Polhawn Fort their very own home-from-home.”

The whole building and its grounds are within a designated National Landscape (formerly an Area of Outstanding Natural Beauty), with the famous South West Coast Path running above and behind. The climate here is affected by the ulf Stream, meaning extreme weather is rare, but when it does happen it’s exciting, as inside the fort you can’t fail to feel safe and protected by its thick walls. Couples come from near and far to Polhawn Fort. For those with friends and family in farflung places, a longer stay works well, as the fort sleeps up to 24, with capacity for up to 100 guests at the wedding itself. The usual lead time from booking to wedding stay is around two years, but Teresa tells me that 2026 has seen some wonderful last-minute weddings, just a

INSET Taking time to connect

polhawnfort.com

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A B OV E The view from above

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Contemporary, high-quality architecture that roots itself in the sensitive landscapes of coast and moorland. 01364 653503 hello@vesp.uk www.vesp.uk

VESP Architects, 2 Dolbeare Meadow, Ashburton Devon. TQ13 7FL

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

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R E T R E AT

At Rock’s newly reimagined St Enodoc, Paul and Emma Ainsworth have created a coastal destination that understands the pleasure of time well spent.

hen it comes to discovering somewhere new, for me the journey to get there is as much a part of the excitement as the destination itself. The day dawns with the kind of sky destined for a i ar film, the deepest blue with an abundance of white uffy clouds, almost too uniform to be real As we turn up into the drive of the St Enodoc, the understated lu ury welcomes us with a confidence of having created something very special.

Reopened in July 2026 following an extensive renovation, St Enodoc enters its next chapter under the direction of Paul and mma Ainsworth with a renewed sense of purpose here is a confidence to the transformation, but also a welcome lac of solemnity he first impression is one of openness. The hotel spills towards the estuary, its manicured lawns and expansive terraces and expansive outdoor spaces creating a sequence of inviting places in which to settle. Striped parasols punctuate the garden, deckchairs for sitting and doing very little scatter the lawns and the water beyond e pands the property s boundaries seemingly without limit. It is a landscape that rewards attention as the estuary is never quite the same twice: silver and still in one hour, animated by wind and tide in the next.

here are places that seem to have been designed around a view and others that have the good fortune to possess one At St Enodoc, overlooking the Camel Estuary from the Cornish village of Rock, the distinction is important. The view is not an amenity, nor a pleasing bac drop to be admired between courses or photographed on arrival. It is the organising principle of the entire experience: the reason to sit outside a little longer, to order another bottle, to postpone the inevitable return to ordinary life.

If there is a natural centre of gravity at St Enodoc, it is the vast terrace, generous in scale and perfectly positioned to make the most of those extraordinary estuary views t s easy to imagine long lunches

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R E T R E AT

Ainsworth in collaboration with interior design director Eve Cullen-Cornes, the spaces combine rich materials, confident pattern and carefully considered detailing. Statement wallpapers sit alongside bespo e furniture, richly veined marble, velvet upholstery and handcrafted oinery Rather than pursuing the anonymous neutrality that has come to characterise so many luxury interiors, the design here embraces personality

here e tending well into the afternoon, impromptu gatherings that grow in size and warm evenings when dinner becomes an open ended affair, the table set against the shifting colours of the water here is something particularly appealing about a hotel that understands the social life of its outdoor spaces. he prospect of summer barbecues here is especially compelling. With the lawns carefully tended and the estuary stretching out before you, t nodoc has the makings of a wonderfully civilised outdoor gathering: generous platters, food coo ed over fire, friends arriving without ceremony and tables that accommodate whoever happens to appear. It is a vision of entertaining that feels both aspirational and refreshingly uncomplicated, with walk-ins as welcome as residents.

There is an evident pleasure in the une pected lass pendants above the t nodoc ar resemble oysters suspended in mid air, an elegant nod to the waters beyond and the local oyster-growing tradition. Artwor , curated by iam est of est Contemporary Gallery, adds another layer of character, bringing together contemporary ritish artists and photography by ic oc , whose images of avid owie, londie and other cultural figures lend the hotel a little rock-and-roll irreverence.

he interiors reveal a different dimension of the Ainsworths vision esigned by mma

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R E T R E AT

The seafood tower, meanwhile, is a celebration of ocean abundance, bringing together ornish lobster, bluefin tuna, orthilly oysters, Or ney scallops, crab, shrimp cocktail and king prawns. The menu resists the temptation to define itself too narrowly. Instead, the cooking moves between the familiar and the une pected, offering diners the freedom to ma e a meal their own.

These are rooms that invite curiosity, their individual details revealing themselves gradually. In an age when interiors are so often conceived for their photographic potential, there is something reassuring about spaces that have been designed simply for the e perience of being in them The guest rooms continue the coastal conversation through blue and white tones and subtle references to their seaside setting any loo towards the estuary, allowing the landscape to remain present even when the day s activities are over houghtful touches, from freshly ba ed treats to a nightcap, reinforce the sense that hospitality at St Enodoc is as much about small gestures as grand statements

There are lighter and more informal ways into the menu, too. Sarawak Cacio e Pepe combines bucatini with toasted blac pepper, pecorino and Parmesan, while the t nodoc heeseburger pairs dry aged beef with fairground onions, bacon and a potato bun he range ma es the restaurant feel refreshingly democratic: somewhere to mark a special occasion, certainly, but e ually somewhere to arrive hungry after a morning outdoors

he culinary offering is where t nodoc becomes more than a beautiful place to linger At the stuary rill, aul Ainsworth brings together ornwall s e ceptional produce with a broader, more cosmopolitan vocabulary of avours ocally sourced meat and fresh fish are coo ed over fire on the Asado grill, with ingredients from the county s land and sea meeting vibrant in uences from across the ndian subcontinent t is an approach that feels suited to a place defined by both its landscape and its sociability he coo ing is generous, varied and designed to be explored, with a menu that moves from handmade pasta and grilled steaks to fresh Cornish seafood, alongside some immense sharing feasts. Whole roast chicken for two arrives with Gordal olives, lemon, garlic, roasting uices and chic en fat hasselbac s

Then comes the journey through the Indian subcontinent, where the menu moves from street-food favourites and Northern Indian classics to rich, coconut-led Keralan curries, alongside contemporary interpretations of much-loved dishes. eema au, with spiced lamb mince, peas and warm mil buns, is a satisfying place to begin asala hutta brings grilled corn on the cob into focus with spiced lime butter, while hic en , fragrant with fried curry leaves and green chilli, offers a livelier expression of Indian street-food culture. The sense of freedom is central to the stuary rill s appeal he point is not

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Old Lanwarnick Cottages Escape • Unwind • Reconnect.

Nestled in the Cornish countryside, Old Lanwarnick offers luxury self-catering cottages and glamping pods within 34 acres of peaceful private grounds. Blending historic charm with modern comfort, it’s a tranquil retreat surrounded by nature, friendly alpacas and woodland walks — with beautiful beaches just 15 minutes away.

A cornish retreat for every kind of escape info@oldlanwarnick.co.uk | 0790 999 4331 |

oldlanwarnickcottages

www.oldlanwarnick.co.uk

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R E T R E AT

St Enodoc is the attempt to bring landscape, design, food and sociability into a coherent whole. The setting may be the initial draw, but the ambition is to make the experience feel complete.

to prescribe a single way of dining, but to create the conditions for a good one. St Enodoc’s hospitality extends well beyond those staying overnight. The Estuary Grill, bar and terrace welcome visitors as well as hotel guests, making the property as relevant to the local community as it is to those arriving for a coastal escape. A beach day might end with sand still clinging to your shoes and the appetite that comes from hours in the salt air. A winter walk along the coast might leave you windblown, in need of warmth and something restorative to eat. St Enodoc accommodates both moods. The seasonal Flour Garden adds another dimension during its summer opening months, with Neapolitanstyle pizzas, generous salads and relaxed outdoor dining in the landscaped gardens. Together, the spaces create a destination that can be approached in different ways: as a place to stay, a place to eat, a place to celebrate or simply somewhere to stop and take in the view.

Walking away from the terrace, the estuary remains the lasting impression. Its beauty is almost unreasonable in its scale, stretching beyond the lawns as its tide continues its ancient negotiations with the shore. St Enodoc cannot claim ownership of that view, and nor should it. Its achievement is to create a setting from which to appreciate it, with thoughtful design, ambitious food and hospitality that understands when to be attentive and when to leave people alone. On a summer’s day, with the prospect of a barbecue ahead, a magnum of Aix rosé chilling nearby and the terrace filling with the soft hum of conversation, the formula seems almost disarmingly simple. On a cold afternoon, returning from the beach or a wintry walk, the same place offers a different but no less persuasive pleasure. The most memorable places do not always ask us to do more, see more or consume more. Sometimes they simply make it easier to stay where we are. Perhaps that is the point.

St Enodoc’s reopening represents a significant new chapter for the Ainsworth Collection, which has established a distinctive presence along the North Cornwall coast. Cornwall has no shortage of beautiful views and the language of coastal luxury has become so familiar that it risks losing its meaning. What distinguishes

st-enodoc-hotel.co.uk

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Harvest for

the FUTURE WORDS BY JAMIE CROCKER

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QU E N C H

With its first commercial wines now on sale, a family venture begins to gather pace.

Shillingham had previously carried around 100 cows at its peak, alongside Suffolkcross Mule sheep. Years of farming had shown how sharply conditions could vary locally. In dry summers, Shillingham’s grass could be left parched and yellow while pasture a few miles away remained green. Had cattle still been there in some recent summers, they would have been feeding on winter silage by June, severely affecting profit margins.

or more than four centuries, Shillingham was a traditional working farm. Today, its southfacing slopes above the River Lynher support cultivars normally associated with warmer climes, as the Ramsden family puts its faith in a new agricultural future in response to the demands of the market and a shifting climate. After studying at the Royal Agricultural University in Cirencester, where he encountered a small vineyard and became involved in marketing its wine, Alexander began to consider the possibilities for Shillingham. The south-facing slopes and nearby river looked promising, while making a living from livestock and mixed farming was becoming increasingly difficult. So, in 2021, he and his siblings Harry and Flora decided to plant vines. LEFT Shillingham’s vines follow a southward path toward the River Lynher

Growing grapes in Cornwall inevitably brings uncertainties, but the family had good reason to believe that Shillingham’s particular location offered favourable conditions. Its proximity to the River Lynher helps moderate temperatures throughout the year, providing some protection in spring when frost can threaten emerging growth, while the mild influence of the A B OV E New shoots emerge

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A B OV E From vine to glass, a landscape shaped by the seasons and considered cultivation

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QU E N C H

rosé. Production is still developing, so the business concentrates on regional outlets: independent merchants supplying local bars, restaurants and hotels, as well as The Cornish Food Store in the Truro Waitrose store. It also supplies bars in London and a regular, enthusiastic customer in Cambridge.

river continues into autumn, extending the period in which the grapes can ripen. Bud burst generally occurs in the middle or latter part of March, and the length of the growing season was demonstrated in 2024, when the Sauvignon Blanc harvest continued until the 1st November. Before planting, the family sought advice from a climatologist, whose calculations suggested that growingseason temperatures in the plot closest to the river were comparable with those found on the east coast of Tasmania, where Sauvignon Blanc is successfully cultivated. This gave them the confidence to plant the variety in the warmest part of the site, close to the river, as Alex believes that further up the slope the grapes might struggle to ripen with the same consistency. The decision raised a few eyebrows at the time, but the harvests have begun to provide their own evidence, with the grapes ripening successfully even during the challenging conditions of 2024.

The range is due to broaden this autumn, with a classic cuvée and a rosé sparkling wine scheduled for release in November, followed by a red. The family expects a fuller selection to help it reach customers with different tastes, while giving the business more scope to develop its presence in the market. At the heart of the venture is a commitment to making wine that reflects the land on which it is grown. Every grape that goes into Shillingham’s wines comes from the family farm, and the intention is to celebrate the character of each vintage, including the differences that changing conditions bring from one year to the next. Rather than aiming for a uniform style that remains constant regardless of the season, the family wants the wines to express the particular qualities of the grapes and the year in which they were harvested.

The three family members have found distinct roles within the venture, with Alex managing the vineyard while Harry and Flora jointly oversee the business and sales. Their skills have settled into place through experience, and although difficult conversations are inevitable when family and work overlap, all three share a commitment to making the enterprise succeed.

That philosophy also informs the way the vineyard welcomes visitors. Tours and tastings take place from May to September, with groups of around ten or twelve people, and are designed to be approachable and tailored to each group, allowing guests to shape the visit through their own questions and interests. For Alex, they offer an opportunity to explain the hard graft and practicalities involved in growing grapes and producing wine; Flora sees them as a way of making the

The first harvest came in 2023, although it was small. The first substantial commercial crop followed in 2024, and the wines went on sale in late spring and early summer 2025. The initial release included 6,000 bottles of Sauvignon Blanc, 1,000 of Chardonnay and 2,500 of

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QU EN C H

Alex says they have learnt from environmental damage associated with intensive practices elsewhere in the wider world of viticulture, including the overuse of copper sprays. The family is careful with treatments and chose not to apply insecticides this year. It also avoids chasing the highest possible yields, recognising the potential cost to insect life and biodiversity.

process more transparent and helping people understand the pricing. With the current range costing between £17.50 and £18.50 a bottle, the family believes it is important for customers to see the work behind the finished product, while making English wine accessible and free from unnecessary pretension. There are wider challenges in changing established perceptions of English wine. While English sparkling wine has gained widespread recognition, still wines are continuing to make their case with consumers, many of whom remain accustomed to buying imported bottles at prices that British producers find difficult to match. The family is confident that the quality of its wines justifies the price, but recognises that building a market also means giving people the opportunity to discover how the wine is made and what makes it distinctive.

Wildflower seed mixes have been sown along the headlands both to address deficiencies identified in the soil and to encourage insect life, while the family has also noticed an increase in birdlife, with the vines and their supporting trellises providing valuable shelter. Around 350 to 400 trees have been planted as windbreaks, and areas of the farm have been left uncultivated so that nature can take its course, with the vineyard occupying only part of the holding and leaving considerable space for wildlife. The curlew, which features in the Shillingham logo, was chosen as a reflection of the family’s concern for the landscape and the wildlife that depends upon it.

The vineyard already hosts events and weddings for those who make contact, and plans to develop this side of the business further. Next year, the family intends to introduce pop-up catering in collaboration with local producers and chefs, alongside long-table dinners among the vines. Looking further ahead, its aim is to reinvest in the business, creating more permanent visitor facilities and accommodation in the coming years. The intention is to develop the vineyard as a place people can spend time, while ensuring that any expansion supports the wider enterprise.

For a farm that once depended on cattle and sheep, Shillingham’s future now rests on the vine. The family has invested in a crop suited to its corner of Cornwall, and its first commercial wines are beginning to find a foothold. The next few years will bring their share of challenges, from making good wine in changeable conditions to welcoming more visitors and building a wider market. But the guiding idea remains clear: to grow the grapes on their own land, make wine that speaks of the place, and allow each vintage to tell its own story.

Reinvestment in the land is equally important. Shillingham lies within a Site of Special Scientific Interest and a National Landscape, and the family is conscious of its responsibility to manage it carefully.

shillingham.com

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A B OV E Through a portal and out to a world of hope

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www.arco2.co.uk

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10/09/2026 10:05

A Different Way of SEEING 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

Ally Fraser discovers poetry in the overlooked, making and creating with curiosity.

hether creating bespoke furniture or working with discarded materials, Ally Fraser, has an instinctive ability to recognise beauty and possibility in overlooked materials and to transform them into objects that sit somewhere between furniture, sculpture and art.

willingness to explore what might happen when seemingly unrelated elements are brought together. “I see value in discarded things, where other people just see rubbish,” he tells me. It is a simple observation, but one that speaks to the heart of his practice. For Ally, the process of making is not simply about imposing a design upon a material. It begins with looking, noticing and remaining open to possibility. Sometimes he seeks out particular objects; more often, he suggests, they find their way to him. Rather than beginning with a fixed outcome and sourcing materials to fulfil it, Ally allows the material itself to influence the direction of a piece. A discarded object might suggest a new form, while a knot, crack or old joint can become the detail around which an entire design develops. What others might regard as a limitation becomes an invitation.

There is a particular kind of vision required to look at something discarded and imagine what it might become. A weathered piece of timber, a broken concrete post, a sheet of perforated steel: to most, these are remnants of something finished, their usefulness exhausted. To Ally Fraser, they are the beginning of a conversation. From his workshop just outside Falmouth, Ally has built a practice around this instinct for reimagining the familiar. A furniture maker, artist and skilled joiner, he moves between bespoke commissions and more experimental work, creating pieces that are as much about the character of their materials as the purpose they ultimately serve. His work is informed by a sensitivity to form, texture and the traces left by previous lives, alongside a

MAIN Cycle dresser

Ally’s relationship with making began long before the establishment of his own workshop. At primary school,

INSET Ally Fraser

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TOP LEFT Natural timber pedestals

A B OV E Reclaimed oak staircase

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TOP RIGHT Mesh Light

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SU STA I N

commissioned work. That freedom remains important. Although his work encompasses everything from substantial architectural joinery to smaller functional objects and sculptural pieces, the underlying impulse is consistent: to explore what a material might become, rather than simply what it is expected to be.

he remembers creating a simple desk organiser, working outdoors with plywood and a portable workbench. Even then, the possibilities extended beyond the original brief. Later, at secondary school in Kent, design technology offered greater access to tools, machinery and the freedom to experiment. An inspiring teacher helped nurture an interest that would become a defining part of his life. He went on to study furniture design at Sheffield Hallam University, where the theoretical and technical aspects of design were complemented by the opportunity to explore ideas in the workshop.

One of Ally’s favourite personal projects, Mesh Light, offers a particularly compelling illustration of this approach. Its origins lay in two objects that had little obvious connection: a broken concrete gatepost and a sheet of perforated galvanised steel. The concrete post had caught his attention years earlier. He could see its potential but had not yet found the right material to bring the idea into focus. Then, while exploring an abandoned building, he came across the missing element.

While the course involved drawing, modelling and computer-aided design, it was the practical work that drew him in most strongly. The workshop became a place to test ideas, work with different materials and discover their individual properties through experience.

“The next day when I took it back to my workshop and washed it off. I knew instantly that this would work with that concrete gatepost. I drove to collect it straight away.” The eventual pairing is an example of the way his work develops through observation and instinct. The two materials, each carrying its own history and visual character, acquire a new relationship when brought together. Neither needs to be disguised or made to appear pristine and it’s their differences that are precisely what give the resulting object its presence.

After graduating, Ally returned to college to undertake a three-year NVQ in wood machining at Leeds College of Building. He then spent five years working for joinery companies, making windows, doors and staircases. This period brought together the two sides of his training: the creative freedom of furniture design and the precision demanded by traditional joinery. In 2011, he established Ally Fraser Woodworks, moving towards independent commissions and bespoke furniture while continuing to take on specialist joinery projects. The change gave him greater freedom to explore ideas beyond the requirements of a client brief. A particularly affordable workshop space also allowed him to accumulate reclaimed materials and found objects, creating room for an artistic practice to develop alongside his

There is a patience to this way of working, a willingness to wait for the right conjunction of materials rather than forcing an idea into existence. It also reveals something about the nature of his creativity. Although Ally may have a sense of where a piece could go, the route towards its final form is rarely entirely predetermined.

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TOP LEFT Ally outside his workshop

A B OV E Reclaimed oak writing desk

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TOP RIGHT Christmas tree coat hook

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SU STA I N

His Christmas tree coat hooks began with a similarly everyday observation. A Christmas tree, cherished and carefully decorated throughout December, quickly becomes unwanted once the festivities have passed. Rather than seeing its discarded branches as waste, Ally began experimenting with ways to retain their character, stripping away the bark and cutting the branches back to create small hooks.

Ally enjoys working with clients who are willing to leave space for discovery, offering a sense of what they need rather than an exhaustive specification of what the finished piece should be. A meeting, a conversation and a visit to the space provide the starting point. From there, the design can evolve in response to the architecture, the intended use and the character of the people who will live with it.

The transformation is modest in scale but rich in meaning. Something associated with a fleeting moment of celebration is given a second purpose, its former identity still visible in its new form. It is an approach rooted in resourcefulness, but it also asks us to reconsider our assumptions about value: how quickly we abandon objects, and how much potential remains in the things we no longer need. These hooks, along with other reclaimed products including innovative cube toys, wooden belt buckles and shelves are available to buy from the website.

His work is therefore varied by nature. One commission might involve the clean lines of a contemporary staircase; another could incorporate reclaimed oak that once formed part of a set of lock gates. He has also undertaken extensive commercial projects, including the design and making of two shops for wine merchant StarmoreBoss, where displays and fitted elements must combine visual impact with the practical demands of their setting. Such projects demonstrate the technical precision underpinning his more experimental work. The freedom to explore depends upon a thorough understanding of how materials behave, how joints are constructed and how an object will function. Creative instinct and practical skill are not opposing forces here; each informs the other. “I consider myself an artist in everything I do. It’s a way of being. It’s a way of seeing the world. It doesn’t really matter what I’m making, whether it’s a piece of furniture or a loaf of bread in the kitchen.” It is a revealing perspective. For Ally, artistic practice is not confined to a particular category of object or a designated studio activity. It is a way of approaching the world, remaining curious and finding room for invention in the everyday.

For Ally, the distinction between functional furniture and sculpture is not always particularly useful. A table may serve a practical purpose while also possessing the qualities of an artwork; a sculptural object may have a presence that is inseparable from its material construction. Ultimately, he leaves the interpretation open. The viewer brings their own perspective to a piece, deciding whether to regard it as an object for everyday use, a sculptural form or something that inhabits both worlds.“I’m not the one to decide or determine whether it’s a sculpture or just a table. As they say, beauty is in the eye of the beholder.” This openness extends to his commissions.

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A B OV E Commissions for StarmoreBoss

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TOP RIGHT Reclaimed settle

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Serenity, Croyde Serenity, Croyde

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SU STA I N

ta en to the loc able specials cabinet, created for their highest tic et offerings Ally used a rust pitted oil tan as the carcass for the cabinet which he polished to a re ective shine, creating a craters on the moon surface, as well as hand ma ing the doors and a loc ing mechanism y sand blasting the surfaces of thic toughened glass and running strip lights around the edge of them, Ally was able to ma e the shelves glow in a spectacular, illuminated fashion

ood remains his first passion ach piece is individual, shaped by the conditions in which the tree grew and carrying physical evidence of that life or ing with reclaimed timber introduces another layer of history: mar s, old fi ings and oints that hint at the ob ect s previous purpose f a material has already been used for something and it s got mar s in it from a previous life, embrace that or other people that would be a limitation, for me, it s a starting point ather than erase these traces, he chooses to wor with them nots and crac s are welcomed, their irregularities offering a visual richness that uniform, untouched surfaces cannot replicate

or clients, this means a bespo e piece can emerge from a broad conversation about a space, its needs and its atmosphere or his personal wor , it means following curiosity wherever it leads or those considering a bespo e piece, the process begins with a conversation Ally prefers to meet clients, understand their space and leave room for the une pected Appointments can be arranged to visit the wor shop, although getting in touch in advance is essential hat emerges from that first e change may be a piece of furniture, a considered architectural detail or something less easily defined he form will depend on the brief, the materials and the ideas that surface along the way hat remains constant is his belief that ma ing is an act of discovery: a process of loo ing beyond the obvious and recognising possibilities that might otherwise go unnoticed

his appreciation of imperfection is integral to the way Ally conceives a piece he mar s of time become part of its identity, allowing the material s previous life to remain present within its new one mportantly, his practice is not limited to reclaimed materials e also wor s with new materials, selecting and combining them according to the demands of each commission or the possibilities of an emerging idea he point is not to impose a single material philosophy upon every pro ect, but to respond thoughtfully to what each one re uires hether wor ing with newly sourced timber, reclaimed oa , concrete, metal or an une pected found ob ect, he approaches the material as something to understand rather than simply control

n a culture accustomed to replacing the old with the new, Ally s wor offers a uieter, more thoughtful proposition t reminds us that materials carry histories, that imperfections can be beautiful and that usefulness need not end when an ob ect s original purpose does ometimes, all that is needed is a different way of seeing

An e ample of which is the table created for tarmore oss, where rot had left a large void in a huge eech slab that no amount of wood filler was going to hide ver een to ta e the opportunity to do something different, Ally turned it into a herb planter he same approach was

allyfrasermakes.co.uk

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03/11/2026 16:25

The golden R

HOUR

ose gold has a warmth that beautifully complements the shimmer of a diamond t atters every s in tone and deepens beautifully with wear iscover the full collection at Michael Spiers and find the perfect piece to gift or wear this festive season michaelspiers.co.uk

Prices may vary according to model and size.

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B I J O U X

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M I C H A E L S P I E R S 1 8 C T RO S E GOLD DIAMOND-SET C U RV E W I D E R I N G

£3,950

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M I C H A E L S P I E R S 1 8 C T RO S E G O L D D R E S S EARRINGS WITH FA N N E D D I A M O N D D E S I G N

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M I C H A E L S P I E R S 1 8 C T RO S E G O L D G R A D UAT E D P E A R & M A RQ U I S E - C U T D I A M O N D D RO P E A R R I N G S

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SO U L

The sound

OF SLEEP WORDS BY JAMIE CROCKER

An evening of sound healing opens a wider conversation about sleep.

ur brains are remarkably reluctant to switch off ven when the body is ready for sleep, the mind can remain occupied with the day s conversations, tomorrow’s commitments and the small unfinished tas s that seem to multiply after dar Add the glow of a phone screen, and it becomes easier to understand why a good night s sleep is sometimes so elusive At nchanted ouse eds in opsham, an unusual event e plored one way of easing that transition, as guests gathered for an evening of sound healing hosted in collaboration with ong ong

odern life ma es this easy to overloo leep is often treated as the final item on an already crowded schedule, despite its importance to everyday health and functioning he sound healing session offered guests an opportunity to step outside that routine, with an enthusiastic response encouraging nchanted ouse eds to consider future events of a similar ind or etail anaging irector im llis, the occasion re ected an ambition to ma e the opsham showroom a place where people can e plore the wider sub ect of sleep, with an emphasis on personal wellbeing and the value of rest t also raises a uestion: if a third of life is spent sleeping, why should the decisions surrounding it receive so little attention?

he gathering invited guests to put aside the demands of everyday life and spend time listening, rela ing and considering their own wellbeing t was an interesting departure for a business whose principal concern is the quality of the beds it makes and sells, although the thin ing behind the event was closely connected to its wider philosophy ood sleep begins well before someone gets into bed, and the habits, surroundings and choices that shape the end of the day all have a part to play

At the centre of the business is the philosophy that a bed deserves careful consideration t is among the most fre uently used purchases in any household, yet choosing one can be an aw ward e perience ows of mattresses, unfamiliar technical descriptions and a bewildering choice of materials can leave

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SO U L

distinctive bedroom setting ichelle yons nteriors, ouse of etula, nteriors, ornish nteriors, mily ic ard esign and eninterior esign have been selected to contribute their individual approaches to the pro ect

customers struggling to establish what will suit them nchanted ouse eds is defining its showroom e perience around a more personal approach, encouraging visitors to ta e their time, as uestions and understand the construction and characteristics of the products they are considering

he intention is to give visitors the chance to see how a bed works as part of a complete room, with the designers demonstrating their ideas through the use of colour, wallpaper, upholstery and furnishings edrooms are personal spaces, and the choices people make about their appearance can have a considerable in uence on how comfortable they feel spending time in them he si installations will provide practical inspiration that visitors can e perience in person

he opsham premises, opposite arts arm, provide an opportunity to e perience this approach first hand isitors can discuss how different mattresses feel, e amine their materials and learn about the processes involved in ma ing them ndividual re uirements are central to the conversation, since comfort is personal and a mattress that works beautifully for one person may be unsuitable for another nderstanding who will use the bed, and how it needs to function within the home, is therefore an important starting point

here is a clear connection between this pro ect and the evening with ong ong oth re ect an interest in the conditions that help people rest well, with one e ploring the value of ta ing time to rela and the other considering how the bedroom itself can contribute to a more comfortable daily life Alongside the craftsmanship of the mattresses and the advice available in the showroom, they form part of an e panding debate about sleep

here is a distinct evon connection to the products, too nchanted ouse mattresses are made in Okehampton, with artmoor wool among the materials used in their construction his relationship with local production allows customers to learn about the origins of what they are buying, as well as the people and s ills involved in its manufacture he emphasis is on ma ing something intended for regular use with care, while giving customers the information they need to ma e a considered decision

urther events are planned, with opportunities to meet people wor ing in design and wellbeing and to e plore sub ects that have a bearing on everyday life or im, the longer term ambition is to establish nchanted ouse eds in opsham as a destination where customers can discover more about sleep, meet local creative professionals and find ideas for their homes

hat interest in the bedroom e tends naturally into interior design, and it is here that another chapter in the opsham showroom s development is ta ing shape lanned for , he esign loor will bring together si interior designers from across the outh est, each creating a

enchantedhousebedsretail.com

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P RO P E RT Y

A woodland IDYLL

An enchanting 18th-century cottage occupying an exceptionally private and tranquil rural setting.

ou ll find lipper oc in urlawn, ust over two miles from adebridge, meaning that adstow, oc and the amel rail are all within easy reach et among its own established gardens and woodland, the property is bordered by two streams that meander through the grounds before meeting on their way down to the river below he original cottage has been sympathetically e tended over the years into an individual, characterful home he itchen has slate agstone ooring, an oil fired Aga and rench doors opening onto the terrace he principal bedroom has a triple aspect, while a further first oor double opens onto a roof terrace with views across the garden and woodland Outside, lawns and mature planting of a aleas, rhododendrons and irises give way to amlets ood and illpond ood, where ash, oa and outh American beech grow along a networ of winding paths luebells and wild garlic cover the woodland oor in spring, and deer are regularly seen SLIPPER ROCK Guide price £650,000 JACKSON-STOPS 01872 261160 cornwall@jackson-stops.co.uk

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P RO P E RT Y

Ecclesiastical ORIGINS

A striking contemporary home near the Helford River.

he hapel is a five bedroom, rade listed former esleyan chapel in the village of wee , which has been converted into a spacious contemporary home t sits a few hundred yards on foot from the upper reaches of the elford iver, with private gardens and views towards the water and surrounding countryside he conversion has ept the character of the original building, and the layout is e ible enough to suit family life, guests or wor ing from home t may also be arranged as two independent living spaces, sub ect to the necessary consents At the heart of the house is its magnificent barrel vaulted ceiling, a reminder of the building s ecclesiastical origins he generous reception space has been arranged to celebrate that height and volume, with natural light and a cohesive contemporary finish that sit comfortably alongside the historic fabric Accessed discreetly from hapel ill, the property eeps the traditional appearance of a village chapel, while the interior opens into rooms of real scale and presence his is a very distinctive home which will appeal to a range of buyers THE CHAPEL OIEO £800,000 JACKSON-STOPS 01872 261160 cornwall@jackson-stops.co.uk

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Simplifying the

COMPLICATED WORDS BY JAMIE CROCKER

Good home technology can make everyday life easier to manage.

deliver security and e ciency by activating the alarm, optimising lighting, closing blinds and deactivating non-essential equipment.

att Russell began his working life installing television aerials and satellite systems – but his eye was always on the bigger picture hen satisfied customers started asking him to help with other requirements, including surveillance, home networking and Wi-Fi, he recognised the opportunity. Nineteen years on, those requests, together with training and a passion for the highest standards in installation and customer care, have transformed the business into Smarthouse AV.

On your return, a single action can restore the home to settings designed for the season, time of day or occasion, while invisible audio and advanced screens can complement the scene to deliver unparalleled in-home entertainment. Matt encourages clients to involve the team early in a build or renovation to work alongside architects, interior designers and contractors for the best results. Planning the wiring and infrastructure before walls are finished can increase installation options and avoid costly and unsightly remedial work later. For existing homes, the company also designs and installs retrofitted systems, including complete cinema rooms, security and lighting management.

Today, Smarthouse AV brings together home cinema, audio, automated lighting and blinds, security and energy management, supported by integrated WiFi networking that allows these systems to work together. The philosophy behind the company is straightforward: “Simple, smart, connected.”

The company’s Wadebridge showroom gives clients the chance to experience a range of the latest smart technology, including invisible speakers, concealed screens, automated lighting and blind controls, in rooms arranged to feel like a home. It also features one of the most advanced home cinemas in the country. The four demonstration spaces provide

Smarthouse AV believes a sophisticated, well-designed system should be simple to use and beautifully integrated into your home, where it intuitively supports your changing needs 24/7. For example, when leaving your home, the press of a button or a voice command can

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bring technical complexity if not managed correctly. Smarthouse AV has quickly established itself as a leader in curating and applying these products to help clients realise their value in providing smarter, more sophisticated and more en oyable living

a setting for meetings with expert design consultants, helping clients discover what might suit their property before committing to a scheme. Seeing the equipment in use also helps clients understand how discreetly technology can be incorporated to complement their interiors.

Looking ahead to the next nineteen years, it will certainly be fascinating to see how technology evolves to improve our lives. Given Matt’s passion and dedication to his craft, no doubt ornwall s marthouse AV will remain at the forefront of these developments for years to come.

he relationship continues after installation marthouse A offers a follow up visit around si months after a pro ect, helping clients get more from the system and make ad ustments as their needs change Smart systems and devices are becoming increasingly capable and diverse, but can

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19/10/2026 14:25

Painting

from FEELING WORDS BY JAMIE CROCKER

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For Iona, painting makes sense of the life around her.

ona Sanders has always been making things. Growing up between Newlyn, St Ives and Penzance, she was surrounded by practical creativity: her mother made curtains and painted, while her father built boats, carved, restored and worked for Trinity House tending lighthouses. Home life involved renovation, camping, the sea and whatever project happened to be underway. Creativity was part of the household before Iona had any thought of making it a career. Now it bubbles through her personality like a spring that has finally broken the surface, radiating a warmth and enthusiasm that is captivating. She is a person who is alive to the moment and to her responses.

question of what to do next. Her husband’s advice was simple: follow her passion. So, she began painting properly, with no grand plan for where it might lead. That absence of a masterplan remains important to the way Iona describes her career. Opportunities arrived, followed by other opportunities, and the work gradually found its way into galleries and projects. She now has long-standing relationships with several galleries, some extending for 10 or 15 years, and has deliberately kept that circle small. She values the trust involved in those relationships and the freedom to work without being dictated to. Her paintings have been shown at Morgan’s in Falmouth, Penwith Gallery, Summerhouse Gallery in Marazion, the Roundhouse at Sennen, the Thomas Henry in Newlyn and elsewhere, while her work has also travelled to London via Matt Piper, son of the artist John Piper.

There was a conventional education along the way. Iona studied applied biology at university in Bristol, having considered a career in physiotherapy, before spending ten years working for AstraZeneca. She continued painting throughout that period, keeping the creative part of herself alive alongside a scientific career. When a young family and her husband’s shift work eventually made the demands of that job difficult to sustain, she returned to waitressing, a role she had first done as a teenager in St Ives. Then came the

OPPOSITE Kitchen Table 15x120cm acrylic and oil pastel on stretched canvas (detail)

For all the practical business that comes with being a professional artist, painting itself remains the point. Iona talks about the physical pleasure of it, the materials and the process, with little enthusiasm for the selfpromotion that now surrounds an artistic career. Yet there have been moments of

INSET Iona Sanders

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TOP Striped Cloth 80x70cm acrylic and oil pastel on board

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Patrick Shanahan

TOP Iona at work in her Newlyn based studio

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A B OV E Cot Valley 70x60cm acrylic and oil pastel on stretched canvas

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That tension between making a living and protecting the reasons for painting is something Iona understands well. A friend, the sculptor Tom Leaper, once gave her advice that has stayed with her: do what you need to do within your work as a painter, but remember to find time to have fun. It helped her settle into a more pragmatic view of the profession. Every painting is practice, she says, and every painting can contribute to becoming a better painter.

recognition that mean a great deal to her, including the privilege of becoming a member of Penwith Gallery and having her work selected by Steven Soderbergh for the acclaimed film The Christophers, where it appears in the home of Lori Butler, played by Michaela Coel, alongside Sir Ian McKellen. For Iona, though, such recognition ultimately feeds back into the same ambition: to keep painting and become a better painter.. Her work begins with feeling. A painting might start with flowers somebody has given her, something happening at home or simply an emotional response that arrives before any clear explanation. The finished picture becomes a record of that response, which explains why Iona describes her paintings as a direct reflection of her life. Her studio gives her somewhere to process what is happening around her, while the silence of the space also plays an important part in her wellbeing, giving her time away from the demands of everyday life. The resulting work can carry the atmosphere of family life without needing to overtly demonstrate it.

Her instinct for experimentation has recently taken her into unfamiliar territory. Having worked primarily in acrylic, Iona found herself with a place on a four-day portrait course at St Ives School of Painting. She had never painted in oils and had never tackled portraiture, which was precisely why she wanted to try it. The experience changed her view of the medium. She enjoyed the feel of oil and began considering how its depth might work within her own fast, instinctive style. The same instinct informs her landscapes. Iona visits Tresco each year as a resident artist, although her approach has changed. She once took all her materials and spent the week painting. Now she prefers to walk, absorb the island and take photographs, allowing the experience to settle before responding to it back in the studio.

That is especially apparent in her still life paintings. For a period, bowls of lemons became commercially reliable; every time one went into a gallery, it sold. However, there came a point when Iona had to decide how much of that success she was prepared to follow. Flowers and fruit remain part of her work, with their strong colour and connection to her kitchen, but she has also pursued figures, landscapes and more complicated compositions. The decision has never been about abandoning one subject for another. It is about keeping enough freedom to remain interested in the work and to being true to herself.

There is a similar freedom in the way she uses objects within her still life paintings. Oranges appear repeatedly and have acquired a personal meaning: they can represent members of her family, while an orange displaced from the bowl may suggest someone going through a difficult period. Petals scattered across a table can point to the disorder of family life. These meanings

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C R E AT E

analyses, then painting quickly once an idea has taken shape. Her sketchbooks function as aides-memoire rather than finished artworks, filled with reminders, observations and fragments of ideas. Her camera provides another store of possibilities, particularly photographs of her daughters and son, who regularly find their way into her paintings. In her world, almost anything can become the beginning of a picture.

are personal rather than a code for the viewer to decipher, and Iona is perfectly happy for somebody to look at the colour and composition without knowing any of them. She has a busy household and describes her home as a lively place. The demands of family life provide much of the emotional material that enters her paintings, which is one reason her apparently cheerful work carries a personal charge. She has even wondered whether the intensity of family life is part of what keeps her artistically fired up.

That openness explains why she can move between still life, figures and landscape without feeling that she has to define herself by a single subject. She has recently been looking closely at Patrick Heron’s work and produced paintings influenced by his compositions, gradually bringing elements of that influence into her own visual language. She is interested in what happens when an artist looks hard at another painter and then takes what is useful back into their own practice. Patrick Shanahan

As a tutor at St Ives School of Painting, she has become increasingly interested in what happens when people stop worrying about producing the right kind of picture and begin to discover their own way of working. Her courses always involve painting, but the deeper subject is often confidence. She has run sessions focused on overcoming the fear of failure, and she describes the results as surprisingly personal, with participants sometimes recognising that they have been holding themselves back in other areas of their lives.

For someone who entered the art world without formal artschool training or a carefully plotted career plan, Iona has developed a remarkably clear understanding of what painting means to her. It is a profession, certainly, but it is also the means by which she pays attention to her own life. The family kitchen, a remembered view, a face on a four-day course, an orange sitting apart from the others: any of them can become the starting point. What matters is the feeling that prompts her to pick up the brush. In that sense, her paintings are recognisably hers before they are anything else.

For Iona, the essential lesson is that the individual is the most important ingredient in a painting. Every person brings something nobody else can reproduce, and accepting that can be liberating. She sees herself as a facilitator, helping people reach that point for themselves. The school, with its history stretching back to 1906 and its associations with artists including Ben Nicholson, Sandra Blow, Barbara Hepworth and Andrew Lanyon, provides an extraordinary setting for that work, but Iona s emphasis remains firmly on the person holding the brush. Her own practice follows much the same principle. Iona is instinctive, absorbing far more than she consciously

ionasanders

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The long

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

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Electric dreams, Atlantic swells and a little Cornish escapism in the Polestar 4 coupé.

Our destination is Mawgan Porth, on Cornwall’s rugged north coast, and a stay at he carlet, an adults only cli op hotel where hot tubs, sea swims and the restorative powers of doing absolutely nothing are taken very seriously indeed. First, though, there’s the small matter of getting there. Leaving London, the Polestar 4 feels reassuringly grown-up. It’s a beautifully considered piece of automotive design, all clean lines, sculpted surfaces and purposeful proportions, all presented without any unnecessary visual shouting. In a world where some electric cars look as though they’ve been designed by someone who has just discovered spaceships, the Polestar is refreshingly restrained.

’m always up for an excuse to head west. A few days by the sea, a decent surf forecast and the promise of some time away from the everyday is usually all the persuasion I need. This time, I’m swapping my normal road trip routine for something a little different, taking the all-electric Polestar 4 down to Cornwall for a few days of waves, wild swimming and a stay at The Scarlet in Mawgan Porth. There’s something about the drive to Cornwall that I never tire of, starting with that first glimpse of rolling countryside, then the nearly home trees and finally that feeling that life is beginning to slow down. And while I’m usually more interested in what’s happening in the water than what’s happening under the bonnet, I have to admit I was rather looking forward to spending some time with the Polestar 4. A beautifully designed electric coupé SUV with a serious turn of speed, it also has one rather unusual feature: no rear window. ith sur oards, wetsuits and a slightly optimistic amount of luggage packed, we’re heading for the north Cornish coast. he plan is simple: find some waves at awgan orth, fit in a few sea swims, indulge in a little yoga and make the most of he carlet s cli op spa ot a bad way to spend a few days.

Inside, the atmosphere is equally considered. The minimalist cabin is dominated by a 15.4-inch central touchscreen, while a 10.2-inch driver display keeps essential information directly in view. Google built-in provides navigation and voice assistance, with wireless Apple CarPlay also available. It’s a clever, connected environment, although it takes a little familiarisation before everything becomes second nature. The seats are comfortable, the driving position excellent and the panoramic roof brings a wonderful sense of space. There’s also plenty of room for luggage,

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which is fortunate because surf trips have an unfortunate habit of accumulating things: wetsuits, towels, boards, changing robes and the emergency snacks that mysteriously become essential somewhere around Taunton.

overtaking lorries, but that range, no matter how you look at it, is impressive. A charging stop somewhere along the M5 becomes an opportunity for coffee, a leg stretch and perhaps a pastry. We’re enjoying the journey so far.

The unique rear-view arrangement deserves a mention. Instead of a conventional rear window, an HD camera feeds a digital image into the rear-view mirror. It sounds like an answer to a question nobody asked, but works remarkably well. The view is wide and clear and, while it takes a moment to adjust, soon feels entirely natural.

On the motorway, the Polestar 4 is in its element he cabin is impressively refined, road noise well controlled and the ride has that reassuringly substantial quality that makes long distances feel shorter. Adaptive cruise control helps take the strain out of longer stretches, while Pilot Assist, available with the Pilot pack, provides steering support and helps maintain distance from the vehicle ahead. It’s not a licence to stop paying attention, of course, but it makes the steady business of travelling down the M5 and A30 feel considerably less exhausting.

There are two main powertrain options: rearwheel drive and dual-motor all-wheel drive. Our interest is in the latter, delivering a frankly ridiculous 536bhp and lb ft of tor ue That’s enough to propel this substantial machine from 0–60mph in just 3.7 seconds. For context, that’s rather quicker than most people can locate their sunglasses. The appeal, however, isn’t just its ability to accelerate like a startled greyhound; it’s the way it delivers that performance. Electric power is immediate, smooth and without drama. Press the accelerator and the car gathers speed with an effortless surge gone is the theatrical fuss of a conventional performance engine.

Past Exeter, the landscape begins to change as the vista opens up and the eager anticipation of the coast, accompanied by that distinct smell of salt in the air creeps in. Then come the Cornish lanes. These roads weren’t designed with large electric coupé SUVs in mind. They twist, narrow and occasionally disappear behind hedgerows that appear to have been growing undisturbed since the Domesday Book was commissioned. Passing places become a matter of diplomacy as tractors, who believe they have right of way, surge ever forwards and the occasional oncoming delivery van requires creative negotiation. The Polestar feels like it has more sensors than Artmeis II and so makes light work of the tightest of maneouvres.At more than two tonnes, the Polestar 4 is no lightweight

he h battery offers a claimed range of up to 367 miles, while rapid DC charging at up to 200kW means a 10-80% charge can take around 30 minutes under suitable conditions. Actual range, naturally, depends on driving style, temperature and how enthusiastically one approaches

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sports car, but it handles its size with considerable composure. The low-mounted battery helps keep the centre of gravity down, while the chassis feels planted and predictable through tighter bends. Steering is accurate, power delivery easy to modulate and regenerative braking can be adjusted to suit your preferences.

our way down to the sand. When you’re surfing, the ocean doesn t care what you drive, where you work or how much your hotel room costs. It is entirely uninterested in your in ed n profile ou paddle, you wait, you fall off, you try again Occasionally, if the conditions and your questionable technique align, you catch a wave and experience that brief, glorious moment when everything ma es sense Afterwards, the priorities are simple: hot shower, warm clothes, something delicious to eat and absolutely no plans.

By the time Mawgan Porth appears, we’re more than ready to exchange the steering wheel for a wetsuit. Perched above the beach, The Scarlet makes you question why you spend so much of your life doing anything else. As an adults-only coastal retreat, it has a wonderfully understated relationship with its surroundings. Rather than competing with the landscape, it allows the Atlantic to do the talking. Beautiful rooms, expansive sea views and thoughtful details create an atmosphere that makes you instinctively lower your voice.

Eventually, the inevitable arrives. ur oards are rinsed, wetsuits pac ed away and the Polestar is summoned for the journey east. There is something pleasing about returning to the car after a few days beside the sea. The cabin feels familiar and, as the technology springs back into life, Google plots our route home. The Polestar 4 makes a convincing case for electric touring. It is fast without being frantic, comfortable without being dull and technologically sophisticated without making the driver feel redundant. ts motorway refinement, reassuring road manners and effortless performance make it an excellent companion for a long-distance escape.

The spa is the obvious starting point. An indoor swimming pool, natural outdoor reed filtered pool, steam room and cli op cedar sauna offer plenty of opportunities to unwind. Then there are the hot tubs, which deserve a paragraph of their own. Imagine sitting in steaming water, watching the Atlantic roll towards the beach below. The wind might be doing its best to rearrange your hair, but frankly, who cares? This is considerably more appealing than sitting in tra c on the orth ircular

Perhaps the most interesting thing about this road trip is the contrast between the two experiences. One is a showcase of modern engineering, digital connectivity and instant electric performance. The other is a reminder that some of life’s best experiences remain stubbornly analogue. The Polestar 4 has done this in considerable style and he carlet reminds us why we left in the first place

Mawgan Porth is a beautiful sweep of sand bac ed by dramatic cliffs ts Atlantic facing position makes it a popular destination for surfers and the beach has a wonderful sense of space, changing character with its vast tides. The morning begins with the familiar ritual of checking the conditions; a glance at the swell and a watchful eye on the sets. Wetsuits on, boards under arms, we make

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The measure

of THINGS WORDS BY JAMIE CROCKER

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From a home-spun project to complex commissions, Jenny’s business – Curtain Maker Cornwall – has evolved way beyond its humble origins.

boys were young, she turned to sewing, finding a skill that captured her interest and offered scope to develop something of her own. An online course with the NDA esign Academy gave her the confidence to take it further, and she began making curtains for the family’s on-site holiday accommodation. What started as an experiment soon gathered momentum, with each project teaching her something new and sharpening a preternatural instinct for getting things right.

urtains are deceptive things; they hide their complexity in plain sight. From the front, they can look like rectangles of fabric with a few folds and a track above them. Behind that apparent simplicity sits a surprising amount of calculation, judgement, hard work and handwork. For Jenny, whose business operates as Jennifer Rogers Curtains & Blinds, with Curtain Maker Cornwall as its online name, what began with an online course and a plan to make curtains for one of the family’s holiday barns has, over the ensuing years, grown into a full-time business specialising in bespoke curtains, blinds and soft furnishings for homes, holiday properties and interior designers.

That progression has given birth to a mix of curiosity and hard-earned experience. Jenny says she is still learning, a hallmark of the craftsperson, one of that rare breed of people who have found their niche and yet are humble enough to be honest about their working process. One week might involve fitting blinds in a farmhouse near Padstow; another takes her to the Roseland peninsula. There have also been commissions further afield, including curtains for a ski chalet in France that came through an interior designer who had previously commissioned work in Padstow. Working with another designer has led to projects in London, while curtains and blinds have been created and installed for

Jenny’s route into the trade grew from a natural flair for making things and the hands-on demands of life on husband William’s third-generation family farm. She had previously grown flowers to supplement the family income, but with children and the need to literally muck in with him in on hill-top fields above ayle, she needed something that could fit around the demands of family life. When their

PREVIOUS Dress fabric turned into curtains

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TO P R I G H T Various styles and treatments

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TO P L E F T Exciting new patterns for the year ahead

TO P R I G H T Apex windows curtains require special skills

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A B OV E Patterned curtains that have been expertly pleated

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valuable difference. This additional layer of soft, fleecy thermal fabric is sandwiched between the face fabric and the lining, then secured with hand stitching. It helps to reduce draughts and retain warmth around windows and doors, while giving curtains greater fullness and a more luxurious finish. The same principle works with Roman blinds, adding body and an extra layer of insulation. Jenny sees it as a worthwhile investment, particularly in older properties where draughty windows can make rooms harder to keep warm. These details are hard to discern in a finished photograph, yet they can make a considerable difference to how a window treatment performs.

numerous properties around Cornwall. It’s always busy and never dull, with each project providing its own set of challenges and stimulation which seem to make Jenny thrive. It’s always a learning process. The bespoke element manifests itself long before a sewing machine is engaged. The initial enquiry sets the tone and leads to a detailed discussion about the room, the fabric and what the customer wants to achieve. Sometimes they already know the material they want; on other occasions the impetus comes from Jenny, who arrives with sample books and helps them work through the possibilities. She will also say when an idea is unlikely to work. A textile may be just too thin, a proposed position may not make practical sense, or a treatment may fail to provide the privacy or light the customer wants. This is experience in action, reaffirming that the client s initial decision to commission Jenny was the correct one – it’s a cumulative exercise.

owever, careful measurement is perhaps the area that receives the most attention. When handling fabrics that are worth hundreds of pounds, that old adage ‘measure twice, cut once’ really comes into play. Bay windows, curved windows and unusual shapes can turn a straightforwardlooking job into one of technical gymnastics. One large curved bay, measuring around six metres, required a paper template and careful use of plumb lines to establish the shape before the track could be made. When the first track didn t quite perform as it should, Jenny and William worked with the supplier to have it rebent before returning to install it. Another project involved a track that had to follow a shape that was both arced and bowed, like the side of a ship. Certainly challenging, but one that Jenny refused to be defeated by.

That advice can be as important as the making itself. Large windows, for example, can demand careful thought about tracks and the way a room is used. In one apartment project, wide windows meant that sheers could provide privacy while also helping to reduce the impact of strong sunlight. Elsewhere, a customer wanting privacy and plenty of daylight might be better served by a cafe curtain, a style that is seeing a resurgence in popularity. Similar thinking applies when it comes to Cornwall’s damp conditions. Jenny uses specialist Teflon lining where appropriate and points to indoor-outdoor fabrics that are less susceptible to damp and can be washed. During the colder months, though, interlining can make an especially

Back in the workshop, precision continues. Rachel, who works with Jenny, can spend considerable time planning how a patterned fabric will fall before making a single cut. The joins have to be considered, the pleats positioned, and the finished curtains worked

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achel joined after responding to a Facebook post, having previously worked for the local council, and quickly became an important part of the workshop. Jenny describes her as a perfectionist, and the two have developed a close and warm working relationship, keeping each other on their respective toes whilst enjoying each other’s company. Jenny can visit a property, discuss the requirements, safe in the knowledge that a return to the workshop will be greeted with enthusiasm and a like-minded person to talk through the scheme.

out as a pair so that they look balanced when hung. With a strong stripe or pattern, even the amount of fabric gathered into a pleat has to be considered in relation to the fittings and the space behind the curtain. Once the plan is established, the fabric is laid out on the making table and cut, side hems are hand-sewn, and weights are added at the bottom. The lining is prepared and attached, buckram is used at the top to form the heading, and the pleats are recreated before being sewn. A single-pleat curtain may take around two days to complete, although every job varies according to the fabric, dimensions and construction required. It is a process in which careful preparation pays dividends.

The ambition is to continue carefully, building on the bespoke work that has brought the business this far. There is no grand ambition attached to it, and perhaps that suits a trade where every window presents its own problem. Jennifer Rogers Curtains & Blinds has grown because one considered and carefully executed commission has led to another, and because Jenny has kept learning.

An oft-overused phrase really does apply to Jenny’s projects – ‘No job too big, no job too small’. Her work has ranged from a small cottage window to substantial interior projects. One Padstow commission involved around 40 metres of fabric, all pleated to pattern, for an orangery. Elsewhere, the business has worked on properties where the windows themselves became the main engineering problem. A wooden pole measuring 5.8 metres was fitted with only three fittings, while curtains were pleated to match a strong pattern on fabric sourced from America. She has also completed an entire block of 12 apartments for long-term rental, as well as work across ten other blocks for an established interior designer.

To the uninitiated, a curtain may still look like a rectangle of cloth, but pull back the fabric and a whole world of complexity and experience rests in the capable hands of Jenny and Rachel, whose work is showcased at Curtain Maker Cornwall. In a world of reductive experiences, it’s reassuring to find a pair who can provide a uniquely bespoke service and product, as opposed to something that is just plucked from a screen or a row of limited generic alternatives.

The partnership with Rachel has helped Jenny shape the next stage of the business.

curtainmakercornwall.com

INSET Jenny in her workshop

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The sea

WITHIN WORDS BY JAMIE CROCKER

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C R E AT E

A lifetime at sea inspires David Stamp’s evocative paintings of maritime life.

avid Stamp’s art journey is inextricably tied to the rhythm and unpredictability of the ocean. For decades, the sea has been his workplace and teacher. From the weightless clarity of working as a diver to the heavy responsibility of being a skipper, David has viewed the water from every angle. Serving as a crew member for the Royal National Lifeboat Institution (RNLI) and investigating maritime incidents further deepened his reverence for its immense power. In the face of these intense and challenging environments, art became his sanctuary, providing a space to process a lifetime of raw, elemental experiences.

of oils allows him to capture the deep, shifting gradients of open water and the dramatic play of light on a swelling wave. By incorporating mixed media, he gives his work a physical texture that evokes the coarse grit of salt, the rust of ageing hulls and the rugged tactility of life at sea. Now, as a sailor in the latter chapters of his life, he translates these memories onto the canvas. Every piece he creates is rooted in a specific lived experience – from the quiet isolation of the underwater world to the adrenaline of being out there in a storm. His art goes beyond capturing a picturesque view; it is a testament to humanity’s profound connection to the elements, giving fleeting maritime moments a permanent shoreline.

For a long time, he was based in St Ives, Cornwall, a coastal haven that has drawn artists for centuries. Walking those historic cobblestone streets, he absorbed the unique Cornish light and drew immense inspiration from the local galleries. Surrounded by this creative legacy, David found his own voice through oil and mixed media. The rich fluidity

PREVIOUS Stern View

David exhibits at the Old Lifeboat Station in Porthleven twice a year, as well as at a few art galleries and art fairs throughout the year. davidstamp.co.uk

INSET David Stamp

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TOP Breaking Light

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A B OV E Mermaids Call, Zennor

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TOP Taranis

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A B OV E Solace at Praa

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TOP Always look for the Light

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A B OV E Life’s a Beach

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TOP The Lookout

A B OV E Go with the Flow

davidstamp.co.uk

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Have you got

SALT IN YOUR SOUL?

SPA DAYS • COWSHED TREATMENTS • COASTAL ESCAPES www.stmoritzhotel.co.uk I 01208 869800 I spa@stmoritzhotel.co.uk

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05/11/2026 10:13

An appointment IN FEZ WO R D S B Y M A RT I N H O L M A N

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C R E AT E

Time spent in Fez is an experience for the senses.

the mellow light and rising temperatures of a late North African spring, their mission was to ma e a gift to e ed by en ance based artist Kleiner Shames, the team set about creating a est enwith impression of north central Morocco. Appropriately enough, in this city distinguished by its circuits of high walls, their objective was to paint a mural that would encapsulate qualities emblematic of both locations – the colours, space, luminosity and vibrant lifestyle.

etween the dry, painted earth from which walls and passageways seem carved, to the storks nesting overhead on the towering city gates, the city vibrates with sensations. unlight filters through latticewor screens hafts illuminate a stroll through the ancient medina, the heart of the city. At market stalls, multicoloured textiles hoisted high on display sway with every breeze. Blended with the air are subtle perfumes of mint, served sweet in tea at street cafés, and of saffron, herbs and other spices. Gathered for sale in the crowded sou s are bas ets of nuts and figs, mounds of fresh at loaves and trays of pastries

or hames, it was a return to the historic city. In 2025 he had been one of the guest artists welcomed to Morocco’s oldest city by e Art esidency, an enterprising arts initiative embedded in the local cultural scene ractitioners in every art form are invited to sample one of North Africa s most significant centres for the arts and artisanal craft industries was so inspired by the trip,” Shames said, spending a wee immersed in the world s oldest medina connecting with locals, ma ers and discovering artisan crafts The panoply of street-side artisans and traditions captured his imagination and initiated new relationships.

Spectrums of colour rinse through the atmosphere, uorescing on fabric and decorated ceramics. Sandy yellows and cooling blues line streets; claret-toned and poppy reds, earthy browns, indigo and henna shades fill the honeycomb of stone vats where cloth and leather are dyed by artisans in the historic open-air tanneries. Into this invigorating environment in May came four men from Cornwall. Arriving in

PREVIOUS Ollie Marston at work on the mural

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TOP he e s yline spectrum of yellow, blue and white

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A B OV E houara annery in e where dyes are stored in open stone vats

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TOP Kleiner Shames working on the mural

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A B OV E ac c vor, inn urford and Kleiner Shames work on the mural

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C R E AT E

e resolved to return t re indled an idea I’ve been mulling over for years: to create a self-funded collaborative trip for a small group of artists to exchange skills and create something meaningful with a local community.” He would bring his idiosyncratic take on abstraction with a geometric edge, and in e he would find the materials, interconnections and atmosphere. This meeting of cultures had the ma ings of a perfect combination e Art esidency found the site an open courtyard surrounded by high walls. And the quintessence of the art of Kleiner Shames is a painted wall.

alls enclose that energy e is surrounded by eight kilometres of ramparts, the oldest dating to the end of the eighth century. The mind-defeating network of alleys laid out inside was designed to thwart invaders. In their shadow came mosques and then shops and houses aised on slabs of rammed earth, the surfaces of the walls are punctuated by holes, lots of holes eft over from scaffolding, they remain open to help with repair and construction or the population, the holes can be impromptu niches: a pair of shoes sits neatly in one; in another a trader has slipped a spare footstool.

An artist who has come up through street art, he is now commissioned by patrons to wor in many media arge scale public murals in en ance, ew uay, Bristol and elsewhere broadcast Shames’s bright, optimistic, restless yet precise expressiveness to thousands who pass by them every day often without this audience knowing his identity. With its walls and meandering passageways, e is a city of visual surprises. The narrow, crowded streets make up a complicated labyrinth which cannot penetrate Once through the gateways into the medina, a maze composed of many thousands of open and covered alleys consumes the visitor. There people throng and bargain, saunter and run. Now and then, the buzz of a moped engine nips at a pedestrian’s heels. And, everywhere, cats roam unmolested and wander into shops and cafés. A kind of symbiosis ensues, and street life is carried out amicably, as far as the visitor can tell, on two legs and four.

Elsewhere, a parcel awaits collection, a snack is stored for lunchtime, and refuse is casually discarded. Small birds make their nests in the holes wifts y bac and forth at speed with faultless aim throughout the day. Their calls chirrup through the city’s perimeter walls, woven into the incessant chatter of moped engines and car horns. Sometimes, there are kestrels. Just as the local assi community has invented uses for the holes, the key to Shames’s approach lies in improvisation. Armed with the sketchiest plan for the artwork, he travelled out with the intention of being inspired by the location. An artist who thrives on speed and collaboration, he was accompanied by three skilled technicians: community activist inn urford, animator and screenprint artist Jack McIvor, and photographer Ollie Marston. At the time, hames said, his is not ust about creating a piece of work.

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A B OV E Hand-dyed wool yarns at the ANOU co-operative

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A B OV E The completed hand-dyed and knotted wool rug at the A O co operative outside e

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C R E AT E

Instead, a sensory experience ensues, drawing in both mind and eye, carried out by movements of the body. Busy intersections echo the choreography of human activity. In the rapid turns and overlapping shapes, Shames recalls his youthful infatuation with the daring dip and rise of skateboarding.

It’s about expanding each artist’s practice, building connections and learning directly from the people and traditions that ma e e so uni ue resented with the courtyard, Shames immediately set about mapping out his composition. Measured drawings and extensive prep are not the Shames way: his background in the hustle and precarity of gra ti infused him with the excitement of speed and inventiveness. A large-scale mural painting in short order held no terrors. That is his forte.

ignificantly, hames was not bringing an artistic style foreign to Morocco. Abstraction grew into an art form from an idea that arose in Europe and America early last century. But its graphic origins are much older, with sources found in Eastern icons and art from other continents, with Islam at the forefront. Islam excludes representation of the figure in public settings o seen everywhere in e , in riad courtyard homes and on mosque façades, are richly-patterned glazed earthenware geometric designs. The surfaces of tiles, vessels and ironwork pulse with colour and complex linear formats, some incorporating phrases in Arabic script praising Allah. Moreover, in the 1960s and ’70s, Morocco developed a vigorous homegrown variation of Western abstract art. Merging European trends with much older Islamic and Berber traditions in woodwork, ceramics and weaving, oroccan abstraction ourished as a symbol of modernity.

The large-scale composition quickly emerged. Extra willing hands hastened the task. Shames’s project was never conceived as a one way diffusion of creative energy under the open s ies of orocco ocal people of all ages left their mar o did students from the neighbouring secondarylevel Shems’. And workers joined in from adjacent workshops. Working together with materials sourced locally, they achieved their objective in an astounding three days. Now established as a painter, printmaker and sculptor in the West Country art gallery scene, Shames built his style on the symbols and lettering that characterised his blend of street art. Those elements have evolved into an interplay of straightedged shapes and blocks of bold colour. or ing on the at with line and tone, he constructs the suggestion of layered forms jostling for position in a shallow imaginative space implied by shadow-like contrasts. His visual language is abstract. While individual outlines may retain a teasing familiarity with the real world, the overall structure is free of representation.

he e mural s fast owing current of curves and uprights, overlaps and intervals captures the vibe of a place. Shapes and colours interloc , repeat and reconfigure in a kind of chorus around the courtyard. Appropriately, the finished pro ect was inaugurated with music – the deeply entrenched Gnawa sound that West

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TOP Kleiner Shames working on the mural

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A B OV E Medina courtyard mural (detail), May 2026

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C R E AT E

was the product of collaboration was very luc y to catch abha and ustapha at their A O store in e , directly opposite the Bou Inania madrasa.

Africans brought to Morocco centuries ago. A master musician led his instrumentalists and chanted the verses over quavering rhythms to which he danced, accompanied by stringed guembri and iron castanets. Shames tapped into this panoramic creative vigour and combined it with home-grown inspirations. In exchange for bringing his own vocabulary of forms, he borrowed colours from the city and from the environment of the courtyard itself.

e spo e about different types of rug making, where the wool comes from, how it is dyed and, most importantly, their artisanowned and community-managed business structure. I had a design in mind, loosely based on the mural we d finished painting about 30 minutes before! I picked the colours from the incredible choice of wool, dyed up on the roof of their beautifully restored 18th-century riad building. The wool was then taken to Oued Ifrane, about two hours outside e hat s where five e traordinary wor ers, atima, l ibera, adia, atima and atima got notting

Into the rich henna tones of shop fronts inside the dense medina, he folded the yellows, interspersed with white and blue, seen in the city skyline viewed from high open terraces. And here is a coincidence not even this gifted maker could invent. That greenish shade of blue of plastered buildings recalls a colour that Shames adores; it appears in almost every painting he makes at his studio.

Within a few weeks, the rug was complete and in the hands of couriers. That is when e , orocco, came to en ance

Once bac in en ance, hames funnelled the pro ect into that studio ocated ust off the town s ar et ew treet, his workspace doubles as a gallery called The Small World. Through early September, the rapport he pursued between West enwith and est Africa was documented in a special exhibition, bringing together photographs, prints and objects that came out of the wee in e he centrepiece was not by Shames at all – at least, not directly. The knotted pile rug in hand-dyed Atlas Mountain wool, with its tail-braid fringe,

kleinershames.com A signed, limited edition four-colour screenprint by Kleiner Shames, based on the Fez mural, is available to buy at www. kleinershames.com/shop. Martin Holman stayed at Riad Serendipity (riadserendipity. com). theanou.com fezartresidency.com

INSET Neighbours make their mark on the mural

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