A quiet twist of FATE
Sometimes all it takes is to ﬁnd yourself in the right place at the right time
PIN NAC LE
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L U X U RY
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noun 1. the act of driving something along 2. the flow or the velocity of the current of a river or ocean stream
verb 1. to become driven or carried along, as by a current of water, wind, or air 2. to move or float smoothly and effortlessly
On the cover ‘Quince’, Menna Angharad, oil on linen canvas, as featured from page 25. mennaangharadpainter.co.uk
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T E A M
Foreword People, place and planet are inextricably linked by fundamental shapes and textures. By exploring the ﬁeld of sustainable and purpose-driven design and development, we encounter next-generation changemakers who are shaping the future. Artist Phil Strugnell (13) has had a lifelong association with music and this has had a profound tonal impact on his work. As with the layering of notes, collage, sculpture, mark making and graﬃti elements combine to create harmony in the ﬁnished work. Drawing from nature, Menna Angharad (25) works in oil on linen canvas, exploring natural forms with powerful simplicity, giving the sculptural forms of plants in autumn and winter an aura of conﬁdence and deﬁance. Frond’s planters are designed with purpose (37), seeking to provide an alternative to a throwaway culture of neglected houseplants. DARN’s founder Amelia
Pemberton (47) adopts a sense of playfulness and friendship in her textiles. Nostalgic references meet bursts of colour and original illustrations in a joyful collection of silk scarves and clothing. DARN’s supper clubs also bring people together in convivial surroundings to explore food, art practice and human interactions. Marianna Popejoy (78) is an expert in connecting our homes with the natural world. An interior designer, specialising in biophilic design, she draws us into her realm which focuses on our innate desire to have a biological connection with the natural world. Ruarri Spurgeon (99) cites a chance meeting to be the catalyst for the creation of EthicaCBD, an ethical product that is having a profound impact on movement in daily life and helps demystify the science behind the product. Each of these narratives creates a unique connection, one which we invite you to explore.
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C O N T E N T S
At a glance 13 T O T H E L E T T E R
78 B A C K T O N A T U R E
Music, colour, shape and pattern
In conversation with Marianna Popejoy
25 S E A S O N A L S T I L L L I F E
88 B I G T H I N G S
The autumnal beauty of nature
S P O K E N S O F T LY
37 P L A N T E R S W I T H P U R P O S E
Bringing artist and audience together
A potted history of Frond
99 A T O P I C A L A P P R O A C H
47 W E AV I N G A T H R E A D
EthicaCBD’s all-natural blend
Through the eye of creativity
108 A S T O R I E D T R A D I T I O N
59 S T R I K I N G A B A L A N C E
A tale of orangeries from Philip Whear
Making a place to call home
115 S O L V I N G T H E P U Z Z L E The fate of a 200-year-old Cornish treasure
L U X U RY H O M E S At the pinnacle of the Cornish market
71 D E L I G H T S F R O M T H E D A I RY
122 E V E N T I D E
Recipes from Trewithen Dairy
A final word from Trevor Osborne
Making sustainable living beautiful
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WO R D S B Y H A N N A H TA P P I N G | I M AG E S B Y A D J B RO W N
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F O C U S
A lifelong love of music, combined with colour, shape and pattern creates artwork which communicates feeling, sensation and personality.
four large works on ply boards start with the layering of large letter forms using old photographic studio backdrop paper. “From there I paint abstract expressionistinspired layering, using calligraphy and post-graffiti gestural marks. On top of that, I build a vocabulary of shapes from my typographic block prints, creating a series of motifs,” explains Phil. “I draw on influences of geometric minimalism from the likes of Ben Nicholson, but I also incorporate elements of typography, graphic design and ‘graffuturism’ into my work, as well as Russian constructivism and 20th century modernism. My intention is to create mood, atmosphere, feeling and sensation through colour and shape.
hil Strugnell is an art teacher; that’s his day job, inspiring the next generation of creatives in north Cornwall. However, one day a fortnight is given over to his own practice where he creates lyrical collages of material, colour and letter forms. His early inspiration came from photography and the moving image which saw Phil combine his love of art and music, lighting nightclubs with analogue installations. The notion of layering had already influenced Phil’s work at this point, with up to 20 projectors at any one time, looping and overlaying images. Although he studied fine art and printmaking, Phil’s early artistic practice took him in the direction of photography and film. Always a record collector and DJ, his first solo exhibition in Cornwall, The Shape of Music, celebrated an interconnection between the space, artwork and music. His most recent body of work combines collage, sculptural elements, block printing and gestural mark making that nods to graffiti. In his paintings, layers are formed from collage, printmaking, gestural mark making and abstract typography, while the 3D wall sculptures/ reliefs are built up with layers of painted plywood using abstract shapes derived from hand-cut, typographic block prints. Taking inspiration from jazz musician Sun Ra’s piece Interplanetary Music, a series of
Reflecting the idea of versions within reggae music, Phil’s new collection, for which he is seeking gallery representation, will take a set of shapes and develop a series of different variations and versions in repeat. Phil was photographed in his workshop as part of photographer Adj Brown’s latest project, ‘Makers and Doers’, a series of images capturing Cornish artists, craft makers and creators with a sense of curiosity. philstrugnellart.com phil_strugnell_art adjbrown.com
INSET Phil Strugnell
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A B OV E Graphic collaboration with Nasty Craft skateboards for the Ben Raemers foundation
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A B OV E A set of typographic block prints
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A B OV E Test collages for collaboration with Salty Shapes surfboards
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A B OV E Sketchbook details
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A B OV E ‘Waking up!’, mixed media on canvas – work in progress
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A B OV E ‘Harmony of Difference’, wood collage/sculptural relief
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STILL LIFE WO R D S B Y M E RC E D E S S M I T H
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C R E AT E
Painter Menna Angharad brings the autumnal beauty of botanical forms.
stillness, mindfulness and reconnecting with nature has become a priority for many. As universities produce a steady stream of new still life painters, those whose careers have always celebrated form and simplicity are seeing a renewed interest in their work.
hose of you with an eye on the arts may have noticed a recent and unexpected resurgence in one of painting’s most historic genres: still life. More and more, galleries are exhibiting contemporary works that celebrate the simple beauty of objects, and of natural objects in particular. Perhaps this is a reaction against the 21st century trend for new expressionist, installation and media art, or it could be down to something more human – a renewed appreciation of our natural world in the climate crisis, or the desire to live at a slower pace after the stress of a global pandemic: certainly
“Still life intrigues me,” says painter Menna Angharad, whose long career has been based on the quiet contemplation of objects. “It can say so much in an economical way. The oldest art is figurative, and the possibilities of representational art are infinite, but always accessible.” Menna was born and raised amid the rural beauty of North Wales.
PREVIOUS ‘Willow Twig’
INSET Menna Angharad in her studio
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A B OV E ‘Medlar’
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A B OV E ‘Orange Poppies’
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C R E AT E
friends and to explore the much-loved haunts of his childhood.” She has visited regularly ever since. “I feel at home in the Cornish landscape,” she says. “It has such similar vegetation and granitic geology to Wales, and the mild Cornish climate and abundance of superb gardens make it an ideal place to immerse myself in contemplation of all things botanical.”
As the daughter of celebrated 20th century designer Susan Williams-Ellis, who studied at Chelsea School of Art under Henry Moore and Graham Sutherland, Menna grew up in an environment of creativity and artistic discipline. Her love of nature led her to study botany before pursuing her passion for art, training at Byam Shaw School of Art in London and then gaining an MA in Fine Art from Cardiff University. “As a trained botanist and lover of the natural world I empathise with growing things,” she says. “Painting is a way for me to explore their vibrant existence. When I take an object into my studio, I give it the status of a character sitting for a portrait. I want to show my subject respect. I love the illusory nature of representing things in two dimensions, the way that pigments on a flat surface can seduce our perceptions and allow us to engage with a subject simply for whatever it happens to be.”
Among her favourite venues are the wonderful Victorian Productive Garden at Heligan, “with all its veggie delights” she enthuses, “and Trebah of course, with its sub-tropical gardens, hydrangea walk, its magnificent rhododendrons and enormous gunnera.” The modest and intimate beauty of domestic gardens also inspires Menna’s paintings. “Our closest friends in Cornwall are gardeners of several hectares of rich and varied grounds,” she says. “They have exotic greenhouses, a cottage garden, and woodland areas with birds and other wildlife, as well as organic fruit and vegetable plots. I always find myself drawn to kitchen gardens where plant beauty meets the edible, where the practicalities of cultivation and harvesting take precedence over the carefully orchestrated, luxuriant borders and walks that you find in formal gardens.”
Menna’s most recent collection is inspired by an exploration of Cornwall’s great gardens, by their flowers, trees and plants as they change from late summer through to winter. “I first visited Cornwall 25 years ago,” says Menna, “taken there by my husband-to-be, who was brought up near Truro, to meet his family and
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C R E AT E
Working in oil on linen canvas, Menna explores the powerful simplicity of natural forms. Her works are defined by muted tones, with touches of nature’s brightest colours, along with powerful knife and brush work, all of which give her imagery a shimmering and immediate quality. “My palette for these new paintings reflects the radiant colours of autumn,” says Menna, “in contrast to summer’s multitude of colours. Reds, purples, oranges, browns and yellows gradually infiltrate the greens and blues of foliage and fruit. In some paintings I emphasise hot, rich, autumnal colours, while in others the greens of summer will linger, or more modest browns and greys will play with hints of brightness and winter light. Autumn and winter plants represent to me both an ending and the promise of something new. I see autumnal plants and seed heads as beautiful packages of promise and continuity, bursting with hope and wonderment. The beautiful forms of ripening, desiccating and decaying seem to me to be exuberant and optimistic, a dynamic, cyclical change through greenness, voluptuous richness, to a wistful and nostalgic demise. All these stages have an essential presence and dignity, they bring colours and forms which celebrate what has been and
what is to come. I have always felt that the somewhat stark, sculptural forms of plants in autumn and winter, and their range of warm and earthy colours have an aura of confidence or defiance – in the angle of a seed head held high perhaps, or the twist of a leaf as it curls and fades.” In 2015, Menna was awarded the People’s Prize for painting at the National Eisteddfod of Wales, and she has work held in the prestigious Jerwood Foundation Collection. She paints full time at her studio in Wales, which looks out across the exceptional beauty of the Black Mountains, and exhibits her work in the wider UK and France. Whatever the landscape before her, her paintings engage with the particular plant life of each region, and the unique seasonal aspects of climate. “The flora of Cornwall is very similar to that of the part of Wales that I come from,” says Menna, “though the Cornish climate is milder and allows for more lushness and exuberance. Wherever I am I find the fundamental beauty and tenacity of plants so compelling. I am intrigued by their endless diversity and complexity, by the way they adapt to their
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A B OV E ‘Pomegranate’
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A B OV E ‘Honesty’
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A B OV E ‘Quince’
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C R E AT E
the things that I find wonderful and want to celebrate. I feel that, through my dedicated love of plants, their use as still life subjects in my paintings is a means of exploring what it is to be alive. It is a hugely complex question, and my natural still life works are an attempt to grapple with that unfathomable and possibly unanswerable thought.”
environment, by their architecture, their subtlety of colour and texture, their sculptural qualities, and the ways in which we take them for granted, exploit them, cosset them, or find them eerily alien. All these things invite contemplation. For me, still life is about the in-between things that hold everything together, the moments in time where nothing is happening: it is left to the viewer to wonder about the before and the after. These are
A B OV E ‘Medlar II’
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Planters with PURPOSE WO R D S B Y H A N N A H TA P P I N G
SU STA I N
A potted history of a Cornish brand whose aim is to simplify and de-mystify the watering cycle of houseplants with elegant and eﬀortless design.
The idea for Frond was born in 2017 with a simple sketch: “I was working at the time,” explains Joe, “and so it sat on the backburner until 2019. I decided halfway through the year that I needed to take the leap and started the business.”
ith a background in product design, which has ranged from head designer at iconic child’s wheeled suitcase brand Trunki to designing for Anglepoise lighting and Cannondale bikes, founder of Frond, Joe Allam is no stranger to functional design and manufacturing. “While my professional experience has covered a broad spectrum of products and various manufacturing processes, I’ve always had a passion for plants, and in particular house plants,” he explains. “I really wanted to become more in tune with the environment and nature and I found that that was something I wasn’t really getting through the work I was doing.”
“I began to develop prototypes, making the products myself and then COVID hit,” adds Joe. “I was unsure whether I should go ahead with it or not, but spent lockdown prototyping and figuring out whether it was feasible to manufacture the product in this country. Frond launched in February 2021, by which time I realised that my dream of being a designer/maker was not going to work in reality. Instead,
INSET Joe and partner Kelly
A B OV E Orla
SU STA I N
I worked closely with manufacturing companies in the UK for the ceramic planter and the metal stand. In order to maintain quality, the glass is manufactured in China, but the whole thing is assembled here in Cornwall.”
with nature in our homes. With the environment in mind, Frond products are designed to have longevity and are an active discouragement from the throw-away culture of buying cheap plastic plant pots. Joe continues: “we want people to engage with our products, learning about growing and the whole water cycle and for those products to be used over and over again.”
The first product, named Flo, is a planter with a unique self-watering concept. Its minimalist and modern design, combined with practical features, was to become the blueprint for Frond’s designs. Its handcrafted ceramic planter nestles within a glass reservoir, cradled by a metal stand. This combination is not just designed to be visually appealing it also raises Flo above the surface, reducing contact points and preventing the mold growth that can plague many other planters. Its ingenious self-watering system keeps plants perfectly hydrated, with an integrated recycled cotton wick that gradually waters your plants from the bottom up. You can see the water level at all times, meaning you’ll know when your plant is thirsty again which promotes robust, healthy root development.
All of Frond’s products are designed by Joe in Cornwall with meticulous attention to detail and while some are manufactured elsewhere, others are created in the Frond studio, including stitching and waxing the cotton pouches for the super-cute Mini-Snips. “House plants are becoming more popular,” adds Joe, “with people buying them because they want to have more of a green home environment, but they don’t necessarily know how to look after them. If you buy a plant that’s used to a tropical climate and then bring into your dry home, without expert knowledge of how to care for it, it will only last a few days before it will die and have to be thrown away. What we want to do is create products that enable people to grow plants and look after them so that they will last indefinitely.”
Frond’s ethos is to create really goodlooking products with excellent practical application, promoting direct contact
SU STA I N
Green Rooms Markets and the Chelsea Flower Show have been successful platforms for Frond to engage with their customers and the products have been incredibly wellreceived. After exhibiting this year, Frond was short-listed as a finalist for the RHS Chelsea Sustainable Garden Product of the Year 2023. Celebrating the horticultural industry’s efforts to promote eco-friendly and ethical consumerism within the gardening sector, this was an important accolade for a company in its infancy. “We don’t necessarily push a sustainability agenda,” says Joe, “it’s just something that’s inherent in everything we do.
With such a fragile product, it was hugely important that the packaging was effective. “Originally, we intended to re-use the packaging that the glass reservoirs were shipped in from China, but there were too many breakages and so I redesigned the final box packaging from scratch, with multiple card sections that neatly house all of the products components whilst keeping the glass safe during transport.” Orla, a humidity regulating glass planter has joined the Frond stable. Designed for specialty plants like orchids and other epiphytes it has a unique double-glazed planter and biome combination. The dual-layer glass design comprises an inner glass with slots on the underside, strategically placed to prevent waterlogging from overwatering, as well as crucially aiding airflow and moisture movement around the roots. The transparent nature of the glass allows for a quick and easy assessment of your plant’s root health, which is key to understanding the watering schedule, and in addition offers an opportunity for creativity with your potting medium.”
“My main objective when I started this business was that I really wanted to be able to be hands on with products – something I was unable to do in my early career. I really like being involved at a granular level, making improvements as I go and continually developing products. My background in product design has always taught me that a product designer (physical product) should be able to do everything – kind of a jack-of-all-trades – and so I’ve built the business by doing everything from photography and graphics, building the website, creating sales documents and contracts, down to designing the packaging.”
Then comes Cos, a terrarium that derives its elegance from its simplicity. With a wide opening, set up is easy and its
A B OV E Mini-Snips
SU STA I N
which has seen them join with Soil.Ninja to create a ready-to-go terrarium package. Joe tells me that tableware for a Japanese style of flower arranging called Ikebana is in the offing. Translating as ‘making flowers come alive’, Frond’s iteration of this elegant Japanese art form will be as thoughtfully designed, innovative and elegant as its sister products.
hemispherical design makes it look as if it’s floating. This is, of course, a design element that embraces both form and function, eliminating the problem of condensation and mould growth you might find under a more traditional terrarium. Cos creates a self-sustaining environment, requiring minimal water which allows enjoyment of lush greenery without the hassle. Collaborating with like-minded brands has also been important for Frond,
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a THREAD WO R D S B Y H A N N A H TA P P I N G
A B OV E Anna scarf
C O U T U R E
Working collaboratively to explore an understanding of textiles, creating unique, meticulous garments along the way.
followed a creative career. As the youngest, I started out really wanting to do something different to them. I did try to rebel but it didn’t really work out as I ended leaving my photography course to study fashion at Falmouth University. I loved being in Cornwall so much, even now I can’t be away for long as I start to feel a bit weird!”
melia Pemberton started her first company at the tender age of 12. DoobyDolls were handmade, embroidered and bespoke, designed to look like their recipients. “I made them for the likes of Jane Birkin, Charlotte Gainsbourg, Michel Roux and Roger Federer for Nike’s press office. This led to some crazy trips when I was really young; meeting fashion journalists in New York, working at the British Fashion Council and selling them on Polyvore and Farfetch. I also collaborated with a Japanese fashion label making 300 gingerbreadlike dolls for Eley Kishimoto. I think it was from then that I knew I ultimately wanted to have my own company,” explains Amelia.
After graduating, Amelia worked in London on a placement for print designer Orla Kiely: “I was really fortunate that she created a role for me. I was responsible for all of her jersey collection and I also assisted in knitwear, print research and photoshoots/art direction – I was super-keen and ended up getting involved with a bit of everything. I then went on to work with bag designer Ally Capellino as her assistant. It was mainly bags and knitwear alongside photographing for their interviews for her journal series entitled ‘What’s your bag?’. After this, I spent
With a textile designer for a mum, growing up in the family home was like a textile explosion: “I was basically born out of a quilt! I’m a twin and my four siblings all
INSET Amelia Pemberton
C O U T U R E
some time working with Donna Wilson. She went to university with my sister and I had always been a big fan of her designs. I was her ‘right-hand woman’ and fortunate enough to design a large proportion of each collection during my time there, as well as doing some photography and lots of sampling in the knit room.
colour them – it would take me such a long time. The designs were then sent off to be printed and hemmed, followed by a photo shoot and creating an accompanying story that would normally be weaved from those I’d been working with. My first collection was based on the people at the Royal College who had really helped me out and they ended up modelling for me as well.” This has been an ongoing theme in Amelia’s designs, each one echoing newly developed relationships. The latest scarves, which feature chess and backgammon boards, are dedicated to old housemates. “I was living in Camberwell in London when I started DARN,” she explains, “working as a freelance embroiderer for Alexander McQueen, but then during Covid the work dried up. So, I moved to St Ives. I had my own studio space and that’s where it started to take off, including a wonderful collaboration with the clothing brand, Toast.
“It was soon after that I decided I was in need of some me-time. I knew I wanted to do something different for myself, but wasn’t really sure what that looked like. My mum’s house had always been full of clothes and many became moth-eaten. This was an idea I had explored in my womenswear collection, DARN, for my BA at Falmouth, incorporating laser cut holes and using darned vintage fabrics and linens I had sourced from visits to France. I began an MA in Textiles Mixed Media at RCA and I naturally gravitated towards the idea of DARN again, although this time the textile and mixed media elements gave it a more playful and experimental edge.”
“There’s always some element of playfulness and friendship in my pieces. While I work solo, I’m very extroverted and need to have people around me, so I’m always trying to work out ways of keeping the momentum up by doing fun photo shoots and design games.” Amelia’s talents also extend to running supper clubs; she’s recently returned from one in Greece, taking
On completion of her MA, studios were an expensive investment in London, and so scarves were the easiest thing to launch as her first collection: “I would basically draw huge designs, then scan, resize, collage and
A B OV E Tonto PJ set
TOP Potager Scarf
A B OV E SSAW x DARN: Spring Scarf
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good to keep together. I’ve also met people at Royal College and other places who I’ve done homeware collaborations with and up next is a womenswear collection with Finisterre which will launch in March next year.”
guests on a boat to a secret location before playing drawing games and feasting on local produce. Amelia started these supper clubs in Cornwall: “I’m basically always hopping around Cornwall. I’ve got so many different groups of friends but I also love bringing everyone together in one spot where they can’t move. The drawing element of these events is really fun. We have pattern paper laid out on the table and I get people to look at each other while drawing on the table and then, because they’ve had that eye contact, the whole atmosphere changes. These are really simple games, but so effective, and it’s wonderful to observe how the whole dynamic of the room changes. By the end, everyone’s just beaming and laughing. And it’s just so simple. They’re no longer even intimidated by drawing. Then the food is passed around; I work with chefs that I’ve found or friends I think are really talented.
While the names of Amelia’s pieces are inspired by people – Quillie, Dan, Tor, PeiChi – the drawings themselves come from her love for flowers: “I went to Great Dixter Gardens and was blown away by the tulips, so I became obsessed with drawing them. Inspiration for the Ariane dress came from playing a game at the RCA called Pleats, Shapes and Tape. I would put basic shapes on a wall and then invite people to come in and they would then put the shapes on themselves to make an outfit.” This unique design process is led by the invitee, leading to unpredictable pattern cutting and textile combinations through play; the work is underpinned by a sense of engagement that is elegant but not graceful, playful but not silly.
“I also really love collaborating and that sense of supporting each other, because we’re kind of all in it together. A lot of people I studied with have moved back down, like Ali from Francli Craftwear and Sarah Johnson who creates small batch, handmade garments from natural cloth and dyes. We now have a little network and it’s
“I am part of such a rich community and I would like DARN to be able to grow enough to employ people, and become a fun, playful textile studio in Cornwall – mixing it all up a bit! I don’t think there are enough textiles down here; there’s a lot of love for pottery and craft at the moment, but textiles and
A B OV E Amelie PJ set
MADE IN CORNWALL – FOR OVER 35 YEARS
01209 215 759 | firstname.lastname@example.org | www.philipwhear.co.uk DRIFT--32--AD--Philip Whear--1.00.indd 2
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print design is often overlooked.” For Amelia, the design process is just the same as being an artist or a potter, she just uses a different medium as a canvas: “I create things with the idea of them being passed between generations, mended with love when they tear and cherished throughout time.”
DARN X FRIENDS is back for a day’s takeover at 45 Queen Street in Penzance on Sunday the 3rd December for festive Christmas shopping and workshops; DARN LOVE FEAST will take place on Saturday 18th of December at LOVEDAY distillery, DARN Fundraising for the FOOD CO OP on Monday 27th of November and DARN X ROMA XMAS PARTY on 15th of December.
After Amelia’s first, hugely successful pop up last year held in St Ives,
Photography: Unique Home Stays © www.uniquehomestays.com
SUSTAINABLE ARCHITECTURE SUSTAINABLE CONSTRUCTION
BALANCE WORDS BY YSY LEES
SU STA I N
Combining sustainable practices with contemporary design, ARCO2 have made Wayside a place to call home across several generations.
hen it comes to designing and constructing homes that marry client aspirations with a sustainable ethos, this is where architecture firm ARCO2 flourishes. Each property is designed for the future and presents itself in the form of contemporary construction that strikes the perfect balance between sensitivity and innovation. Built to respect the land as a comfortable yet modern multi-generational living solution, Wayside in Mawgan Porth truly encompasses all that ARCO2 believes in while achieving the client’s brief.
and expansion would ultimately not equate to economical or sustainable future-proofing. Instead, the premise of a high-quality home creates an opportunity to greatly improve the character of the local area. Stunning views of Mawgan Porth were also screened out by large hedgerows, access to the bungalow was inefficient and it generally lacked privacy with neighbouring properties overlooking the external space. In contrast, the proposal of Wayside was carefully created to promote a robust Cornish identity; think local materials, new planting and sensitive landscaping. These combined strategies aimed to engender a recessive, humble, subservient character that assimilated with the topography and procured a contemporary link to the built environment of Mawgan Porth. However, there is
What is now the pinnacle of modernity, began as a single-storey bungalow that provided unsuitable and minimal living accommodation. It was of simple form, poor-quality construction and in today’s context, its refurbishment
INSET Wayside boasts beautiful views over Mawgan Porth
Mark Ashbee Chris Hewitt
A B OV E Created using natural local materials
TOP Perfectly situated to watch the sun go down
A B OV E Sustainable yet contemporary
SU STA I N
discouraging appropriate innovation”, Wayside’s design language cross-references the unique characteristics of the site and Mawgan Porth as a whole, from its local natural materials to the grassy garage roof. Take a closer look inside and you’ll find interconnecting social spaces with private amenities, where needed, creating a flow of access between living accommodation. Each room has an abundance of natural light, flooding with sun during the day and providing an open space to watch it sink beneath the horizon as the day draws to a close.
much more to creating a property than what we see on the outside. It was also important that the proposal supported both the needs of the clients themselves and the future needs of the mother of one of the clients. It had to consist of an open-plan living space, including a kitchen, dining and lounge area as well as four bedrooms with lots of natural light and private views. The client also wanted the property to include an inviting entry sequence and foyer with private amenity space and improved privacy to the rear making it homely, convenient and spatially comfortable, suitable for multi-generational living. The proposal was designed with the provision of sustainable improvement upon the previous dwelling, encouraging a built environment focused on health and wellbeing to explore breathable construction and high levels of insulation. The ultimate aim, combining both ARCO2’s environmental objectives and the needs of the client, was to provide a timeless building that harmoniously blended with its surroundings.
By having the living accommodation arranged on the first floor, the impressive family home boasts uninterrupted views to the west that stretch across the beach and glistening blue sea. Covered balconies with glass balustrades extend around the property and provide the perfect spot to spend a balmy summer’s evening taking in the panorama of coastal bliss that surrounds it. Wayside was constructed by ARCO2’s sister company, ADD Sustainable Construction which is evident in the cohesion between design and build both inside and out. Considering its low impact and positive sense of place, this dwelling was created to be homely, convenient and spatially comfortable, utilising a vernacular
I think it is safe to say that the finished product does just this. Aligned with paragraph 58 of the National Planning Policy Framework, which encourages design to “reflect the identity of local surroundings and materials, while not preventing or
W O O D F O R D ARCHITECTURE
We are homemakers. We are known for creating exceptional bespoke homes that are uniquely designed to suit our clients, their lifestyles and the location. From our studios, we work on projects across the South West. Please contact us to discuss your project. 15 North Street, Ashburton, Devon, TQ13 7QH Tel: 01364 654888 www.woodfordarchitecture.com
SU STA I N
pressure test result to maintain consistent comfort levels throughout the year. From triple-glazed windows to the ground source heat pump, Wayside is a sleek and functional family home that both blends with the land it inhabits while offering a versatile, sustainable space for the clients to make their own.
palate of materials and styles that provide an exemplary benefit to the local area. Naturally, it wouldn’t be an ARCO2 property if it didn’t utilise innovative methods of sustainability. Encouraging a built environment focused on health and wellbeing, this family home promotes a future-proof solution in accordance with climate change goals and aspirations.
The clients themselves are also delighted with Wayside, stating: “It has been fantastic working with ARCO2 Architecture to design our beautiful bespoke property in Mawgan Porth, Wayside. They understood exactly what we were after from our very first meeting – a contemporary, ecological family home that can be used by different generations with a mind to future use and potential disabilities. Overall we’ve been extremely pleased with our relationship, both with ARCO2 as well as the in-house construction company ADD Sustainable Construction who we used to build the property. We’ve had a great rapport with everyone we’ve worked with; they’ve often gone above and beyond to help us out and as a result we now have a beautiful property to enjoy for years to come.”
Wayside is constructed on an encapsulated cast in-situ concrete raft which was locally manufactured using secondary aggregate from the clay industry and later sealed with a 100% recycled DPM. The walls consist of two independent timber frames which allows for maximum recycled newspaper insulation without cold bridging throughout the walls. ARCO2 implemented a high-efficiency MVHR system to provide excellent indoor air quality, filtering the moisture, particulates and pollutants, while reducing noise levels with its rigid ducting. The lighting both inside and outside of Wayside is 100% dedicated low energy and the property has a minimum of A-rated appliances throughout. The dwelling balances environmental sensitivity with high performance; it exceeds the minimum passive house u-values whilst also having a very respectable air
P RO P E RT Y
This charming house is a beautiful example of Georgian architecture.
former rectory and once the residence of renowned Cornish artist John Miller, Sancreed House comes to the market in exceptional condition, seated in equally maintained mature gardens. Approaching it from the drive, a broad courtyard will open up, inviting you to enter the building via an impressive hallway. You will immediately be struck by the light and spacious ambience which permeates the whole property, from the ground floor study, large kitchen and dual-aspect sitting room to the five upstairs en-suite bedrooms. Within the manicured grounds there is an additional self-contained, two-bedroom annexe as well as three selfcontained, one-bedroom cottages. Rounding off this exceptional property’s list of adornments is a superb indoor swimming pool complex. The village of Sancreed is roughly three miles from Penzance and is ideally suited for forays to the world famous Minack Theatre, Porthcurno Museum of Global Communications, St Ives and an array of beautiful Cornish beaches such as Sennen Cove. SANCREED HOUSE Guide price: £1.6M ROHRS & ROWE 01872 306360 email@example.com
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P RO P E RT Y
COAST AND countryside
A superb collection of luxurious contemporary homes, located in the heart of Goonhavern.
ith outstanding, far-reaching countryside views, this selection of three, four and five-bedroom homes is inspired by the coast and countryside, offering a wonderful blend of vibrant village life and community. The perfect location for modern active families, these homes are conveniently located within reach of a popular pub, soughtafter school and many of north Cornwall’s finest beaches with accessible commute times to Truro, St Austell and Bodmin. The homes themselves have a focus on sustainability with discreet PV panels and underfloor heating delivered via air-source heat pumps. Inside, you can expect stylish bathroom suites, exemplary craftsmanship and fully integrated kitchens with a modern, highend finish throughout. Buying with Legacy means the team is with you every step of the way from reservation to the provision of an after-care service once you’ve moved into your stunning, sustainable and connected home.
THE GRANGE Prices from: £395,000 DAVID BALL LUXURY COLLECTION 01637 850850 firstname.lastname@example.org
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www.seakis s es .co.uk
One very special Christmas Card
Our 2023 Christmas Card For Good is once again raising money for Dive Project Cornwall, an amazing not-for-proﬁt with a simple but important mission: to eliminate plastic pollution and protect the marine environment, saving life in our oceans for future generations to enjoy. Purchase yours at The Great Cornish Food Store just outside of Truro, or scan the QR code below to buy online.
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C U I SI N E
Delights from the DAIRY WO R D S B Y H A N N A H TA P P I N G
Trewithen Dairy is owned and run by the Clarke family, who have owned Greymare Farm in the Glynn Valley since 1976 and started crafting dairy products there in March 1994.
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Creamy Brussels Sprout Gratin with Cornish Gouda The humble sprout comes alive when swathed in a rich and velvety sauce of Cornish clotted cream, Cornish gouda and a generous twang of mustard. This wooly
blanket of a dish is the perfect winter antidote – delicious served simply with crusty bread or as a festive side dish for the main event.
SERVES 6 INGREDIENTS: 20g Trewithen Dairy Salted Butter
1 tbsp red wine vinegar
600g Brussels sprouts, halved and outer leaves discarded if necessary
2 tsp Dijon mustard Generous grating of fresh nutmeg or ½ tsp dried nutmeg
1 onion, sliced 3 anchovy fillets, drained and chopped (optional)
120g Trewithen Dairy Cornish Clotted Cream
2 slices of stale bread
100g Cornish gouda, grated (can be substituted with gruyere, parmesan or a good cheddar)
20g Cornish gouda 6-8 sage leaves
300g chicken stock (or veg stock)
METHOD Preheat the oven to 200°C. Tip the mixture into a shallow oven-proof dish, cover with foil (a used butter wrapper works well) and bake for 25 minutes.
Blanch the halved Brussels sprouts in salted boiling water for two minutes, then remove from the heat and drain immediately in a colander. Set aside.
In the meantime, put the bread, cheese and sage leaves into a food processor and pulse until you have breadcrumbs.
Melt the butter in a saucepan, or shallow oven-proof dish over a medium heat. Sauté the onions gently for five minutes. Stir through the anchovies if using and cook through for another couple of minutes before tipping in the blanched and drained Brussels sprouts. Pour in the stock and bring to the boil, while stirring. Reduce the heat, add the clotted cream, cheese, vinegar, mustard and nutmeg. Season generously to taste.
Remove the foil, tip the breadcrumb mixture over the top and return to the oven for a further 15-20 minutes or until bubbling and golden and crispy on top.
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Red Onion Tarte Tatin with Blue Cheese and Cornish Clotted Cream Layers of flaky pastry topped with buttery, caramelised onions make the perfect vegetarian Christmas dinner or a great
Boxing Day buffet centrepiece. Crowned with rich Cornish blue cheese and Cornish Clotted Cream for a luxuriously festive finish.
SERVES 4 - 6 INGREDIENTS: 4 tennis-ball sized red onions, peeled and halved
50g Trewithen Dairy Salted Butter, chilled cubes
15ml balsamic vinegar
150ml chicken stock
1 sheet of ready-made puff pastry
Bunch of thyme
50g blue cheese
100g Caster sugar
50g Trewithen Dairy Cornish Clotted Cream
METHOD Preheat oven to 170°C.
Drizzle three tablespoons of the balsamic caramel around the onions and carefully arrange the onions so they fit snuggly and neatly in the pan. Cut out the puff pastry so it’s slightly larger than your cast iron pan. Moving quickly if the onions are still warm, push the pastry around the onions and pierce a hole in the middle to let out steam.
Slice the peeled onions in half lengthways from root to stem. Drizzle olive oil in a cast iron pan, add the thyme, then place the onions neatly cut-side down over the top. Pour over the chicken stock, then place the pan in the center of the pre-heated oven for 25 minutes. If there’s any chicken stock remaining in the pan once the onions are cooked, carefully tip it away while keeping the onions intact. Set aside.
Return the tart to the oven for approximately 25 minutes or until cooked through and golden. Allow to cool for 15 minutes before turning out. Carefully run a knife around the pan, place your presentation plate on top of the pan and gently flip the plate upside down. You may need to ease the tarte away with a knife.
While the onions are softening, make the caramel. Place the sugar in a small saucepan along with the tiniest dash of water. Allow the sugar to caramelise without stirring it, before removing from the heat and whisking in cold cubes of butter. Add the balsamic vinegar and season to taste – you may wish to add extra vinegar. Set aside.
Combine the blue cheese and clotted cream together in a small bowl and dollop on top of the cooled tarte. Garnish with watercress, rocket or sprigs of thyme to serve.
Increase the oven temperature to 200°C.
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Cornish Mead Christmas Jellies with Cornish Clotted Cream Festive fruit, honeyed mead and warming spices combine in these Christmas jellies. This easy, no-bake dessert is perfect for
making in advance and serving at parties – complete with a spoonful of unctuous Cornish Clotted Cream and a twist of orange.
SERVES 6 INGREDIENTS: 425ml traditional mead
1 cinnamon stick
425ml cranberry juice
150g cranberries – frozen works well
6 leaves of gelatin/18g powdered gelatin
2 large oranges
225g Trewithen Dairy Cornish Clotted Cream
METHOD Gently warm the cranberry juice in a small saucepan and stir through the gelatin until completely dissolved. Pour into the frozen glass jug, before adding the mead. Stir gently until combined.
Place a freezer-proof glass jug in the freezer and clear a shelf in your fridge for the jellies to set. In a saucepan, combine the cranberries, the zest of one orange, two tablespoons of orange juice, honey and the cinnamon stick. Simmer over a medium heat for ten minutes while stirring occasionally before discarding the cinnamon stick. Pour into six serving glasses and set aside.
Pour the mixture into each glass, allowing space at the top. Chill until the jelly sets. Cut twists of orange peel. To serve, top each glass with a large spoonful of Cornish Clotted Cream and garnish with a twist of orange peel.
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WORDS BY ROSIE CATTRELL
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D I A LO G U E
In conversation with Marianna Popejoy, expert in the art of connecting the places we call home with the natural world that we are all drawn to.
pecialising in biophilic design, Interior Designer Marianna Popejoy brings us into her realm, in which the home and the natural world go hand in hand. Having worked on numerous projects, from outdoor bathrooms and garden layouts to jungleinspired interiors, Marianna’s work and own personal home have been featured globally by Architectural Digest, Livingetc and Apartment Therapy, not to mention her own contributions to various interior magazines on the subject of biophilia within the home.
Tell me a little bit about yourself, and how you first came across the idea of biophilia. I stumbled across the word ‘biophilia’ in a somewhat haphazard way, almost by accident really, after being asked by various journalists if they could feature our home as they felt that it was a great example of biophilic design. ‘Why yes, of course!’, I would reply, while frantically typing it into a search engine. The more I learned about the concept, the more I recognised how many of the core principles of biophilia we had incorporated into the design of our
INSET Biophilic Interior Designer, Marianna Popejoy
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D I A LO G U E
the way that you felt within the space. I think the mistakes that I made during those experimental years, such as the dark red hallway that lasted a full two weeks during my twenties, made me realise that your home environment had the power to make you feel safe, or in this case, the very opposite. Fast forward a good few years, and I now have the privilege of helping other people transform their spaces into sanctuaries, away from the hustle and bustle of modernday living, where they can feel nourished and supported from the minute they step through the door.
home without even realising it – proof that the desire to connect the spaces we live in to nature really is an intrinsic part of being human. Although I may have stumbled upon the word ‘biophilia’ by accident, going out into nature is where I go to find solace and calm when life starts to get a bit too hectic, so it was always our intention, in every stage of planning the design of our home, to have that clear connection to nature and the natural environment. And so, this very happy accident has led me into a career where I get to design people’s indoor and outdoor spaces in line with the very same biophilic principles that I’ve always been so subconsciously drawn to.
Briefly take me through a few of the main biophilic principles when it comes to the home. The word biophilia focuses on humankind’s innate desire to have that biological connection with the natural world. Stephen Kellert, a professor of social ecology who helped pioneer the theory of ‘biophilia’, believed that the use of nature in our home environment should be approached from the view of an ecosystem, with many layers and great complexity. There are six core principles to focus on, with over 70 ‘belief systems’ within that to consider.
Tell me exactly what it means to you to be a biophilic designer. Since being a little girl, I’ve always been obsessed with interior design. I’ve tried to bring my own ideas and creativity to every space that I’ve been lucky enough to call my own, whether that be an item of furniture or a full room, with varying degrees of success, it has to be said. I understood from a young age that the design of a room, good or bad, could have an impact on
INSET Incorporating natural materials like wood
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TOP Infusing inside spaces with the natural world
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A B OV E Creating rooms that nurture and support
A B OV E Hues of water, leaf and earth
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Of course, it’s not always going to be possible to incorporate everything into the space that you have. We’re not all fortunate enough to live overlooking wide open green spaces, and we can’t just repaint our entire home forest green when we live in a rental property, but there should still be small elements that we can take away to improve our quality of life, sleep better, improve our mental and physical health, work more efficiently and enrich our lives and relationships.
What kind of effect can living by some of these biophilic principles have on someone? There’s no denying that interior design has seen a huge shift since the global pandemic. The ripple effects and implications of that collective trauma will be felt for many years to come, and it will no doubt impact us in ways that we probably haven’t even realised yet. Me and my family felt so lucky to have implemented so many of the principles of biophilic design into our home before the global lockdowns. Our four walls never felt restrictive to us, they felt protective and I realise that this is partly down to the fact that we were incredibly privileged to have good health and be part of a loving family unit, but I also believe that the strong connections to nature that we had in place made us feel held at a time when everything else was so unpredictable and volatile. It was during this time that I launched myself wholeheartedly into writing my book At Home with Nature, to help others make those all-important connections to the natural environment within their homes in order to boost both their physical and
From colour psychology to boost your productivity, to natural materials that aid a good night’s sleep, and views and vistas out to nature that have been proven to speed up recovery times when used in hospitals, all the way through to tips on choosing houseplants that can help promote a healthy indoor climate and even reduce the allergens that contribute to complaints such as irritated eyes, headaches, sore throats and tiredness. Pairing all of that with a recent and somewhat alarming study claiming that we spend approximately 90 percent of our lives indoors, why wouldn’t we want to include some of these healing principles into the homes that we spend so much of our time in?
INSET Marianna and Ross Popejoy in their London home
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the chance. It’s not very often that someone approaches you with a concept like this, so when the opportunity comes along you have to do everything within your power to make it happen. The deadline was tight and I needed to source and plant mature tropical plants in November (no mean feat) as Sofie had a product shoot booked in for the following month which means that it didn’t just need to be ready, it needed to be photoshoot ready. We made it happen and the result is absolutely breathtaking, with the plants still thriving today.
mental wellbeing. Having a well-designed home can be life changing. Clever storage solutions have saved marriages, and intuitive lighting can not only lift your spirits but help you find your sanity. I say these things with tongue pressed firmly in cheek, while also sitting here in a room bathed in a calming green hue, my feet nicely grounded on a natural wooden floor, so I feel comfortable enough to declare them as one hundred percent true. Tell me about one of your favourite projects to date. This would have to be an outdoor bathroom in Royal Tunbridge Wells. When product inventor and interior stylist Sofie Hepworth approached me to design an outdoor bathroom to sit alongside the indoor wetroom and pink concrete bathtub she had commissioned, I quite literally jumped at
What advice would you give to someone who might be looking to take their first step in making some biophilic changes to their home and lifestyle? Research has shown that when you walk barefoot on grass, the level of endorphins in your body actually increases and your blood
INSET Letting the outside find its way inside
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A B OV E Using colour psychology to boost productivity
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A B OV E Reforming our connection with nature every day
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what people might have you believe in various blogs and magazine features, there is a lot more to it than just filling your home to the rafters with houseplants. Whilst there’s a significant amount of scientific evidence to back it up and some headlineworthy statistics that will stop you in your tracks, it can feel a bit like an information overload at times. So, I created At Home with Nature as an easy-to-follow guide to help people navigate the seemingly complicated biophilic design principles and the belief systems within them. I’ve divided them up into 12 easy to digest chapters that people can continue to refer back to and apply to their homes and lifestyle as they grow and evolve. It’s packed full of simple and inexpensive examples to build those invaluable connections to nature within the home and transform your space into a nurturing environment that can calm or stimulate you, depending on what you need from that space in that particular moment.
pressure comes down. A similar feeling can be achieved with natural textures such as wood or stone. A Canadian study showed that wood, when used in interiors, was perceived by a majority of subjects as more ‘warm’, ‘inviting’, ‘homey’, and ‘relaxing’ than all other tested materials. Bringing wooden elements into the home in the form of a dining or coffee table is an achievable and effective way of introducing the tactile benefits of being in contact with wood without having to commit to the permanency of a new floor and the beauty is that you can take them with you when you move. Buying vintage pieces from your local area on pre-loved sites will not only get you more bang for your buck, but will add a sense of unique character to a space too, not to mention being kinder to the environment in the process. Tell me a bit about what readers can expect from your book, At Home with Nature. The theory of biophilia is an in-depth and well-researched subject, and contrary to
A B OV E Marianna Popejoy’s At Home with Nature
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spoken SOFTLY WO R D S B Y M A RT I N H O L M A N
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In Cornwall’s art ecology, Hweg punches above its weight and size to bring artist and audience together.
That ecology allows artworks to be seen and to grow. Hectic times, such as the world is going through now, is perhaps when we most need to turn to art. When they occur, those channels that allow us to seek out the most effective examples are at their most crucial. To see art such as the careful, attentive and intimate objects of Jamie Mills, a Penzance artist whose work is both the product of and reflection on his regard for the natural world. Mills walks the landscape and coastline to observe and to absorb the sensations of shape, surface and movement of those places.
very vital area of existence has its ecology. The term is familiar from the relationships we know organisms in nature need with their surroundings to maintain their healthy existence. The world of visual art also has its ecology, made up of creative artists and the people and places interacting critically with these makers to promote awareness, furnish markets and, above all, to show their work. Gallerists, museum professionals and writers are parts of that ecology, and so is the public who look at, interpret and remember the art they saw. That last element in the culture is arguably the most important. For, like oxygen, it brings art into comparison with everyday life, its pleasures, challenges and aspirations.
He collects as he walks - birds’ quills, types of seaweed, sticks, stones, wood; rubber as the flotsam of passing sea trade or abandoned picture frames; and shredded items in
LEFT Elena Gileva, ‘Light Pink Weave’, natural threads (detail)
INSET Joe Lyward, Hweg gallery owner. Photograph by Ethan Carney
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C R E AT E
weathered clothing. He sifts and sorts, and assesses calmly how using the material might relay his experiences to the onlooker. All these substances appear in his newest work – as themselves but also transformed into subtly-toned objects harbouring lyrical resonances of a deeper life than those from which these residues and leavings were jettisoned. They re-emerge through Mills’ handling by way of signs and metaphors into a personal language.
the ground-floor space on Causewayhead in Penzance that opened in 2021. The creation of arts educator and designer Joe Lyward, Hweg has already made a significant contribution to the arts ecology of Penwith – and thus of the county as a whole. That is because the most explorative and advanced visual arts activity is concentrated in the far west, close to Cornwall’s historic centres for new art, Newlyn and St Ives. The district remains fertile ground, attracting artists to work in the towns around its coastline and, for the most prominent few, develop careers into a national relevance, gaining them access to prestigious opportunities around the UK and Europe.
In the way that, for instance, writers use words and musicians organise notes, Mills combines textures, shaping them by hand (often with needle and thread) into boat-like shapes that might imply the unpredictable wave patterns of life. He carefully judges scale and interconnection, so that objects are capable of transmitting meaning, through the space they appear in, to others prepared to open themselves to their rhythm and form. As in ship-to-shore telegraphy, maybe, or the delicate voicings of chords drawn from an instrument by a practised musician.
Bodmin-raised Lyward wanted to create a gallery with comparably wide horizons that yet still felt “local”. He welcomes visitors into an aesthetic experience with the work on show that encourages looking. They enter freely and have interesting things to greet them. He chose the Cornish word ‘hweg’ for its connotations with gentle, kind, pleasant, pleasing. The only stipulation on visitors is that there are no wrong views about what they see: all opinions are legitimate if sincere. The single white-walled space flows almost step-free off the busy pedestrian street; he hopes comparable obstacles to entering art are also absent, fostering an atmosphere building viewers’ confidence with the sometimes unexpected installations he offers them.
For a multi-disciplinary artist like Mills, whose seamless range extends to photography, musical composition and collaborations with writers and dancers, the framework of a gallery in tune with his outlook is both essential and fortuitous. His latest exhibition is titled Sanctuary (A Space under the Tongue) and takes place at Hweg,
INSET Hweg on Causewayhead, Penzance
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TOP Elena Gileva, ‘Vocabulary of Tactile Language’, installation of ceramic sculptures
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A B OV E Installation view of In Flower Beds exhibition, June 2023, with (left) Mana Yamamoto, ‘Sotto Saite’ and (right) Ben Sanderson, ‘08/07/2022’
TOP LEFT Installation view of Elena Gileva’s exhibition Vocabulary of Tactile Language, July 2023
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A B OV E Jamie Mills, (above) ‘Vestige (Umbra)’, 2023, paper, steel wire, beeswax, thread, 36 x 37 cm and (below) ‘Talisman i to iv’ , 2023, bronze, 7 x 2.5 cm
TO P R I G H T Installation view of In Flower Beds exhibition, June 2023
C R E AT E
Hweg is an example of a gallery where that transaction has no overriding commercial undertow, although Lyward sells the work he shows. Instead, the dialogue is unspoken and formulated in the mind over time; and it can be renewed with every future meeting. That is why Hweg bears no resemblance to a shop where art is bought and sold, but looks like part of a home that the owner has opened up to guests.
Such as Hiroko Watanabe’s installation ‘Omiyage’, a word most often translated from the Japanese original as “souvenir”. Lyward invited Hiroko to visit Penzance from Japan, and the work she brought was a remarkable and beautiful composition. Little boxes, individually wrapped in gift paper, were laid on a low-level table top. Overhead a shower of silk flowers on tiny cotton stems hung from a criss-cross of threads that spanned the width of the gallery, catching the electric light so that the strings resembled gentle rain. Watanabe thought of the boxes and flowers as potential gifts; brought by a Japanese visitor, the Penzance audience could take them home immediately for the outlay of a few pounds.
When he decided to put his ambition for a gallery into practice, Lyward had a model in mind. Since his time as a student at Anglia Ruskin University in Cambridge, he has admired the ambience surrounding Kettle’s Yard. The building just outside the centre of the city is deeply associated with the radical British modernism that emerged in the pre-war studios in St Ives where Barbara Hepworth and Ben Nicholson worked, and which flourished there to international effect in the following decades. For Lyward, that focus had another value. “I struggled with living up country,” he recently told the Cornwall-based artist Rupert White. “I was very aware of a difference in culture and values. So having all that Cornish art around me was nice. It brought me back home in a way.”
In the window area the artist hung an accompanying piece – a sheet-like cloth with an an embroidered decoration at the edges – so that it reached to the floor, as if signifying a greeting to a special occasion. The design left ample space for everyone who wished to to sign their names as expressively as they wanted with the coloured pens she left out for that purpose. Throughout the duration of the show, the previously empty space grew increasingly full. When the show finally closed, Lyward took down the cloth and, carefully folded into a parcel, posted it back to Hiroko as a souvenir, a return gift to her that bristles with the pictorial signatures of Penzance people.
Lyward drew special inspiration from the couple who created the house. Jim and Helen Ede bought four tumbledown cottages in the late 1950s to convert into a single dwelling which they filled with their collection. Every item was placed with extreme care, in dialogue with its neighbours. The special qualities still felt at Kettle’s Yard (which is now a public venue with an exhibition gallery of its own) are atmospheric harmony and attention to how different artworks can interrelate.
All art is an exchange, a view that Lyward subscribes to wholeheartedly. And the success of Hiroko’s project was its openness to other people who fell in with it through their own actions. That is one route that art takes to evolve its significance, and how it breathes life into society. Moreover,
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C R E AT E
Since opening his gallery, Lyward has followed his aspiration for a living place where works of art can be enjoyed by all ages, unhampered by the formality of public places. Indeed, Lyward lives upstairs from the gallery and projects the same warmth and pride to exhibition visitors as a homeowner shows to guests. “The space has this domestic scale and I’m sensitive to that in the way I curate. Hweg is also essentially a white-cube, a neutral setting and the kind of space that I’ve visited in Tokyo, which could add something unexpected to the high street in Penzance.” There is a resident cat: Koyangi roams the gallery, settles to look at people looking at art, and on cold days seeks full advantage of the under-floor heating.
Then the Edes invited students from Cambridge University to visit and absorb the ambience and become familiar with the artists and their work. Not only did the setting energise Lyward, it encouraged other young people to become curators. One visitor in the 1960s who knew Ede was Nicholas Serota: he later became director of the Tate Gallery, created Tate Modern and transformed the British public’s perception of new art. In his house, Jim Ede set out objects in a way that was totally foreign to the usual museum environment. There were no labels and artworks were displayed alongside furniture, glass, ceramics and natural objects – and that has not changed after almost 70 years. No distinction exists between art and craft: what matters is the inflection between form, surface, colour and space as the eye travels between rooms, rather than by dates or ‘schools’.
Lyward’s house, however, does not have a garden. So a recent show invented an indoor one for him and for those calling by. A “living space” Hweg may be, but the show did not involve plants, only their evocation by nine artists from at least three continents. As well as images in paint, print and tapestry, there was text in the form of an essay, a poem and a bookmark.
Lyward worked in the house as an educator for a year and, he says, “I think of working at Kettle’s Yard as my training, how to create a considered space in which art is shared. I’m happy that ambience is felt by visitors to Hweg.” Visitors are as likely to encounter ceramics (the building once housed a pottery) or a sound installation as painting and sculpture. Russian-born and London-based artist Elena Gileva recently showed her small-scale woven and clay objects, shapes pulled into vibrant, abstract latticed and lurching shapes, brightly painted and glazed.
Mana Yamamoto contributed a suite of cyanotype prints reframing branch and leaf forms as lines of poetry in Japanese against a background of evening blue. The prints measured only a fraction of the area covered by Helston-based Ben Sanderson’s doublesided collage drape: fabrics, processes and media coalesced into a single visual field. Sanderson’s piece was free-hanging,
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A B OV E Xxxxxxxxxxxx
TOP Installation view of Hiroko Watanabe, ‘Omiyage’, 2023, mixed media, dimensions variable
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MIDDLE (left) Jamie Mills, ‘Border Terrain’, 2023, fabric, wood, paper, beeswax, thread, 47 x 17 x 10 cm, (right) installation view of Jamie Mills exhibition, November 2023
A B OV E Detail of Hiroko Watanabe, ‘Omiyage’, 2023, wrapped card with diverse objects inside
A B OV E Installation view of Hiroko Watanabe, ‘Omiyage’, 2023
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C R E AT E
In every ecology, there is a pecking order as well as a spread of relationships. West Cornwall’s art network spans publiclyfunded Tate St I ves and Newlyn Art Gallery and commercial operations like Anima Mundi in St Ives. In addition there are groups of artists’ studios, Falmouth University and the latest iteration of nonvocational courses at Newlyn School of Art.
partitioning the space into impromptu front and back areas, and catching the draught so that it swayed contentedly. The gentle beauty of its tones and the robust, concentric, sewn linear elements encapsulated a quiet, productive and restorative corner of nature, the garden. Nearby was a still-life painting by Winifred Nicholson of a vase in an open window, a bucolic touch by an historic piece borrowed from a collector. It seemed to be in conversation with a delicate watercolour plant study hung opposite, made on handmade paper by Jatinder Singh Durhailay, a London-born artist and musician whose presentday images recall the style of historic Indian Sikh painting.
So where does Hweg sit? Lyward’s confident installations and sensitive attitude have naturally moved the gallery quickly towards the centre of that scene, bringing an international perspective built on insightful choices to otherwise parochial viewpoints. Alongside similar new arrivals, such as the varied activities at CAST in Helston and Kestle Barton on the Lizard peninsula, Hweg stands out for the quality of its own relationships with interesting artists and a breadth of vision that embraces big ambitions.
The collaboration between scale, surface, image and idea defines Lyward’s sensitive presentation. It benefits from the space works are given, both within the room and against the light filtering through glazed doors at front and back. The entire room constitutes the exhibition. He spent a year in Japan after graduation and was deeply impressed by the careful arrangements of objects within lived interiors that give stability and calm to a room and whoever is in it.
The current exhibition at Hweg by Jamie Mills, Sanctuary (The Space under the Tongue), continues until 25 November 2023. All images (©) the artists. instagram.com/_hweg_/
INSET Detail of Hiroko Watanabe, ‘Omiyage’, 2023, silk, cotton, and thread
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Old Lanwarnick Cottages
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APPROACH WO R D S B Y H A N N A H TA P P I N G
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D I A LO G U E
An all-natural blend of therapeutic botanicals hits new highs.
annabidoil, otherwise known as CBD, is one of more than 100 chemical compounds known as cannabinoids, extracted from the Cannabis sativa plant. In contrast to its illicit counterpart, Tetrahydrocannabinol (THC), responsible for inducing the ‘high’ sensation, CBD isn’t psychoactive. Instead, CBD is associated with a wide array of potential health benefits, purported to alleviate anxiety, depression, pain, and even symptoms related to cancer. Discovering that a Cornish company has been leading the way in ethical pure CBD oils, luxury skincare and therapeutic topical products, I was curious to find out more about the science and ethos behind the brand. In conversation with Ruarri Spurgeon, Director of EthicaCBD, I am enlightened to its benefits. Can you tell me how EthicaCBD was formed? I’ve been living in beautiful Cornwall since 2007 with my son and partner. Sadly, my
son experienced a difficult time at university and decided to take a year out. He came back to Cornwall to work with me for a time and while doing so was using CBD oil as a way to manage his anxiety. This piqued my interest, as I hadn’t really come across CBD before then. I was keen to find out more so we travelled to Amsterdam where a chance meeting with a former owner of a CBD company saw us make contacts with people from Canada, Colombia, France, and Greece who were all involved in this business in different ways. It was an opportune, and somewhat serendipitous, day. By coincidence, some mutual associates of mine, another father-and-son team who I’ve known in other businesses, were also looking into CBD at the same time as the son had ankylosing spondylitis. They were reluctant to go down the route of conventional treatment due to its side effects, and so he went on his own journey and along the way found out that CBD might be helpful. However, when looking into it,
INSET Ambassador Gail Muller
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A B OV E Moving more
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D I A LO G U E
he couldn’t find a trustable source that he felt really comfortable with. We met at the end in January 2019 and said let’s create a company that makes the best, safest, most ethical CBD products on the market. So, that’s what we’ve set out to do. So, how do you go about sourcing such a product? I have a background in cosmetics, so I am familiar with supply chain, due diligence etc. It was very important to us that we have a clean, safe, natural product. A lot of companies making CBD topicals take a base product and just add some CBD, and we found huge variances in terms of homogenisation across products. After much research, we found a company in France who had a much deeper understanding of formulation than nearly everyone else we had met, and so all of EthicaCBD’s products undergo testing, as part of rigorous quality assurance for their purity to the highest UK/European standards, and include a full analysis for any contaminating cannabinoids, pesticides, heavy metals, fungicides, mycotoxins and solvents. The mention of using a cannabis derivative can cause alarm for some people. Can you shed some light on this and explain how EthicaCBD products are safe to use? The human body has what we call an endocannabinoid system, which was discovered in the early 90s, and has two types of receptors: CB1 receptors, known as the brain receptor and CB2 receptors known as the body receptor. To stimulate these receptors our bodies produce
endocannabinoids; anandamide was the first of these to be discovered and its name comes from the Sanskrit word meaning bliss or joy. We naturally create anandamide ourselves, doing things that we enjoy. So, all of us have tiny cannabis-like molecules floating around throughout our bodies. The cannabis plant, which humans have been using for about 5,000 years, essentially works by hijacking this ancient cellular machinery. THC and CBN are the plant-derived psychoactive cannabinoids, which actually activate the CB1 receptor. CBD and CBG don’t have this effect on CB1. What’s been discovered through extensive experimental studies in laboratories is that CBD and CBG, which are the cannabinoids that we work with at the moment, have actions on the CB2 receptors and other anti-inflammatory, analgesic antioxidant receptors and systems in the body. Essentially, there’s lots of molecules in the cannabis plant, a few of which can be intoxicating, but most aren’t and that’s the reason they’re legal. So, our products are 100% safe. There’s been a tremendous amount of safety analysis done on CBD products. In order to bring a regulatory regime into play, the Food Standards Agency (FSA) requested that those who wish to participate in the CBD market provide safety information and data, which we’ve done. From a topical product perspective, there’s been quite large safety studies done on skin irritation and dermatological effects which is why there are no safety concerns with permissible ingredients in topical cosmetic products.
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D I A LO G U E
In experimental studies that have been done, it’s been discovered that CBD and CBG interact with multiple systems and receptors in the body. There’s one called the GPR55 which is a G-protein coupled receptor, which is not dissimilar to CB1 and CB2. It’s present throughout the central nervous system and immune system (macrophages) and a key element of the descending pain control system. Activation of GPR55 enhances pro-inflammatory responses in macrophage-derived cells. CBD is an inhibitor of GPR55 providing a mechanism suggesting its involvement in reducing inflammatory responses. Multiple studies have shown that CBD can increase the production of antiinflammatory cytokines and reduce the production of pro-inflammatory cytokines. There are also neurological interactions with voltage-gated sodium and calcium channels, so it’s been observed that these molecules interact with the body in a really complex and varied way which provides some context as to why different people experience different types of benefits. Can you tell me more about your ‘move more’ campaign with your brand ambassador Ian Botham? From our side of things, we identified the fact that many of our customers were 50plus, and a common denominator in the discussions we had with these people was that they wanted to move more; to spend
more time in the garden, take the dog for longer walks or to play more golf. We were delighted when we heard that Ian Botham wished to help us promote one of our products because he is particularly well known within an older demographic and is trusted because of the stance he has taken over the years on various different things. Ian had had a lot of injuries and operations and a really bad case of swelling on the knee, and because of his discomfort he’d become much less active. We had sent Ian’s son, Liam Botham, some samples of our EthicaCBD Sports Gel and he called me a few weeks later with feedback from his mum that Ian just couldn’t believe how good the product was. Where he had been really struggling to walk, he was now more mobile. He’d just walked around the golf course for the first time in two years. We weren’t expecting such an incredible testimonial and now Ian is heading up our campaign. In line with his ambassadorship for EthicaCBD, Sir Ian Botham has been sharing his physical recovery processes, hoping to inspire his followers to keep striving for better living, no matter what it takes. For those of us with added challenges, Ian’s advice for staying active against the odds is rather succinct: “Get out there and have a crack. It’s the only way to keep yourself mentally and physically strong.”
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TOP Ambassador Ian Botham
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A B OV E Ambassador Kris Hallenga
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D I A LO G U E
Have you worked with any other ambassadors in Cornwall? We have also worked with Kris Hallenga, writer and founder of breast cancer awareness charity Coppafeel. We are proud to support @howtoglitteraturd and the amazing work she does to help promote breast cancer awareness. Her comments blew us away: “There are so many CBD products out there in the marketplace that you have to be careful about which you choose because it’s not always clear what is put in them. I love what EthicaCBD stands for because it is a local Cornish brand that focuses on being as natural, ethical and sustainable as possible. The products are pure and have no heavy metals or ‘nasties’ and the brand is transparent in everything it does which offers peace of mind. Similarly, Cornish author and adventurer Gail Muller had this to say: “This EthicaCBD Sports Gel has been an absolute game-changer. I’ve tried so many things in the past, but I have truly never used anything on my skin topically that makes such a difference as this does. Amazing.” Our brand ambassadors share in our passion for ethically produced CBD products. We work together to achieve great things, placing CBD at the centre of our journey. Whether conquering physical challenges or overcoming mental adversity, our ambassadors have a few things in common: grit, determination, and ambition. Qualities we value greatly at EthicaCBD.
How do you recommend people use the EthicaCBD Sports Gel? We recommend daily use and it’s important that you completely rub it in until it’s gone. I always say it’s good to put it on after a hot shower, so your pores are open. I personally use it myself twice a week. I do quite an intense training regime early in the morning and I normally wake up with a couple of niggles. I just apply it maybe 45 minutes before I go to the gym, and by the time I’m training, the niggles are gone! Some people apply it every day, so I guess it’s more a personal choice about how it helps you to move. The product can also be really helpful with migraines by rubbing it on to the back of your neck, and I’m due to speak to a lady later today that has rheumatoid arthritis and AS, and she’s reporting that she has come off all the other drugs just using our sport gel. Similarly, one of the clinical studies that we shared was in regard to chronic neuropathic pain, which is often untreatable within current medications, and cannabinoids have been shown to really help with this. I should say that CBD doesn’t work for everyone, but the more we research and develop our products, the more of these success stories are happening. EthicaCBD scours the world to source the finest organic hemp and establishes precise methods for extraction to be able to deliver a previously unachieved level of natural purity across their whole range of CBD products. ethicacbd.com
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TRADITION WO R D S B Y H A N N A H TA P P I N G
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F O C U S
Adding elegance and flair one pane at a time, an orangery can elevate your home in more ways than one.
f you’ve been dreaming of adding a sunroom to your property, you might be wondering about the key differences between a conservatory and an orangery. Both of these home extensions promise to bring the outdoors in, flood your space with natural light, and create a seamless connection between your interior and the world outside. However, there are subtle yet significant distinctions to consider, ranging from costs to design preferences.
Originally crafted in Renaissance Italy to shelter delicate orange and lemon trees during the winter, an orangery is characterized by its glass roof, which typically covers less than 75% of the total roof area, and glass walls that account for less than 50% of the total wall area. Typically, an orangery boasts a lantern-shaped roof or a flat roof with a lantern rooflight, complemented by brick pillars or timber pilasters in the corners. These structures were traditionally seen as glamorous additions to homes and are particularly suited to a home with a more traditional architectural style, however, a more modern take on an orangery is perfectly possible with a minimalistic aesthetic whilst still retaining the classic features. When deciding which to choose, it’s worth considering your specific needs and usage
for the extra space. Are you looking to enhance your garden view or boost your property’s resale value? Often orangeries are designed as a light-filled extension to create an open plan kitchen/dining area. Orangeries tend to add more value to your home, but that shouldn’t be the sole factor influencing your decision. Instead, focus on what will genuinely enhance your quality of life. At Philip Whear, which has been running since 1985, the orangery designs are fully bespoke with a choice of uPVC, timber or aluminium construction, and an in-house paint booth, so colour and style is also fully customisable. Customers are able to have as much or as little input to every element of the design, and the highly experienced sales designers are always on-hand for guidance. Huge technological advances in the glass industry mean these rooms are well insulated, keeping the heat out in summer but in during winter. The experienced team handle all elements of the build, from the masonry right through to the finished product, which comes with a ten-year guarantee. Over the coming pages, we showcase some of Philip Whear’s exquisite designs, with many more available to view in the extensive showroom. philipwhear.co.uk
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A B OV E Carbis Bay
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A B OV E Coombe
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A B OV E Ludgvan
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SALE NOW ON! With up to 50% OFF Our newly refurbished store has now reopened! Enjoy our new layout, designed to enhance your shopping experience, where you can now browse the latest ranges of dining and living room furniture, beds and bedroom furniture, and as always, stunning accessories throughout. Come see the difference for yourself and take advantage of our grand reopening sale. You’ll be amazed at what you find! CHRISTIES FURNITURE, COMMERCIAL ROAD, PENRYN, CORNWALL, TR10 8AE TEL: 01326 373 272 EMAIL: INFO@CHRISTIESFURNITURE.CO.UK WEB: WWW.CHRISTIESFURNITURE.CO.UK
THE PUZZLE WO R D S B Y H A N N A H TA P P I N G
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D I A LO G U E
How a 200-year-old Cornish tree with a unique literary connection finds a new home.
enabilly, on Cornwall’s south coast, has been the seat of the Rashleigh family since the 16th century. In more recent times, the house and its grounds became known for their connection with the acclaimed writer Daphne Du Maurier who lived there for 25 years from 1943. The estate spans a few thousand acres which stretch from Fowey to Par on Cornwall’s south coast, part of which are Menabilly Woods. Graham Hawken, founder of Rustic House with his daughter Emily, continues the tale: “I am very fortunate to have been a long-term tenant on the Rashleigh Estate – five to six generations of my family have lived there – and am privileged to have been allowed to walk in its extensive woods. The Rashleigh family were some of the foremost plantsman and collectors in the UK and were instrumental in planting many of the woods and estates throughout
the south west – there are tree specimens in the woods at Menabilly which are simply incredible. “One, in particular, always caught my eye; a mature Monkey Puzzle – a species very dear to my heart as I used to travel a lot to Chile where it’s the national tree, so I’m very familiar with the species and have even planted them myself,” adds Graham. Sometimes referred to as a Chilean Pine, Monkey Puzzle, or Pehuen, the Araucaria araucana is rather a curious genus. It heralds from high in the mountains of Patagonia, where it played a major part in the lives of the indigenous Araucanian people. One native tribe in particular, the Pehuenche, had a diet that consisted almost entirely of the seeds from the mature trees – they would eat them toasted, ground into flour and even fermented as a drink. Being so important to their lives, the tree became sacred.
PREVIOUS Monkey Puzzle, Kew
INSET The edge of the Rashleigh Estate
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A B OV E Planks and rings
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TOP Crafted with care
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D I A LO G U E
The Monkey Puzzle tree arrived on British soil as result of a visit to Chile by Scotsman Archibald Menzie in the late 1700s. Served the seeds for dessert at a dinner with the Governor of Chile, he took some and on his return to Britain planted two seedlings at the Royal Botanic Gardens at Kew, specimens of which can still be seen in the gardens today. It was Cornishman William Lobb who, after seeing the unusual trees at Kew, travelled to the border of Argentina and Chile to obtain 3000 of the exotic seeds. He was instrumental in the first commercial introduction of the plant to the UK in 1842. The tree gained great acclaim amongst the landed gentry and became a display of wealth, gracing the gardens and grounds of the rich. Mature Monkey Puzzle trees can grow to more than 50m (160 feet) tall. At this height, they lose their pyramid shape for a more traditional umbrella-like one as they grow. While the trees eventually fell out of fashion in Britain, they can still be seen in countless gardens around the country. Sadly, the Monkey Puzzle is now endangered in its native habitat across South America. The trees grow very straight and produce few knots, which means they were heavily logged, and although this practice was banned in
1990, illegal logging and forest fires have put this ancient species at risk of disappearing from the wild entirely. With this in mind, when a mature Monkey Puzzle tree came down in a storm a few years ago at Menabilly, Graham was at pains to ensure it was treated with respect and preserved for the future. “These trees take centuries to reach maturity and there was one particular Monkey Puzzle tree that I would see on my walks that really caught my eye. I was therefore very sad to see it fall, but it was just its time. Unlike many other areas in Menabilly Woods there was vehicular access to this one. I had spoken to Sir Richard on occasion about how to handle wood from the trees when they fell and, having been in the timber industry all my life, I knew this was a rare find. I was able to persuade Sir Richard to have the tree professionally planked, put it in ‘stick’ and air-dried for nearly two years to stabilise the wood. I was then fortunate enough to come to an agreement with Sir Richard to purchase the timber.” Many of the specimen trees in Menabilly Woods are now coming to the end of their natural life, reaching a point where the next storm might take them. With this in mind, Sir Richard has done a large amount of replanting, regenerating the woods for generations to come.
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D I A LO G U E
So, what became of the Menabilly Monkey Puzzle? The very top and bottom of the tree was sawn into rings while the remainder was cut longitudinally, giving unusually wide, long planks – some of up to 4m in length. “These are perfect for making beautifully tactile, individual live-edge tables, seating up to 12,” adds Graham, “unique in that they are made from a singular length. It would be usual for the wood to be joined in some way in a table of this length.” The nature of Monkey Puzzle timber is that it is quite regular, making it well-suited to large furniture pieces. While its form is even, the wood gets its true beauty from the intricate grain patterns that run like tributaries along the length of the planks and orbit in delicate circles on the rings. On a visit to Rustic House – where its extensive collection of individual hand-crafted furniture, lighting and accessories can be viewed in the expansive well-stocked showroom or online – I was fortunate to be able to view the Monkey Puzzle wood up close. Stored in a temperature-controlled environment, the heady smell of the planks combined
with its literary heritage made for a unique experience. The rings in particular reveal the tree’s heritage with their knots and gnarls. Heading to the showroom, I am greeted by an impressive centrepiece; a hand-crafted four-metre table made from one of the longer planks, its organic lines and tactile surface making for an elegant dining experience. Rustic House has worked with local carpenter, Martin Isted, to create both the long table and a selection of smaller side tables and benches, as well as a range of accessories including a striking chopping board, inlaid with coloured resin. The intention is that each piece of the tree, even the off-cuts, are used to create heirlooms for the future. The Monkey Puzzle timber is available at Rustic House for bespoke commissions, with each piece of this unique furniture rooted in Cornish history and holding a unique literary connection. To discuss a commission, contact Emily Birtwhistle on firstname.lastname@example.org rustichouse.co.uk
TOP Take a seat at the table
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Eventide WORDS BY TREVOR OSBORNE
orthleven was famous ﬁrst as the most southerly port in Great Britain, a harbour of refuge when this part of Cornwall was infamous for wrecks. It’s come a long way since then; today it’s a vibrant Cornish village and popular year-round destination for visitors. You don’t have to look far to ﬁnd people waxing lyrical about Porthleven’s charms, from the Bickford Smith Tower, that iconic image of the village which dominates paintings and photographs, to the picturesque harbour full of boats, with its huge timber baulks which protect the inner harbour and guarantee safe moorings. It’s much more than this though, Porthleven is a real community. People are proud to be Porthleveners, and there are many local families, long-standing businesses and village characters – even a famous Porthleven cat, Regggie – which make it such a friendly, welcoming place which visitors return to again and again. Porthleven has changed over the years, there are undoubtedly more holiday cottages and restaurants, facilities for the visitors who keep the village alive and
ﬂourishing year-round. Visit Cornwall’s website describes it as ‘fast gaining a reputation as a centre for great art and great eating’. It has not stood still, but continues to evolve appropriately (children and dogs always welcome, but no fast food chains here) and respond to the needs of locals and guests alike. This appeal has allowed it to weather the pandemic and the recent economic challenges. Over the almost half century which I have owned the Porthleven Harbour & Dock Company, I’ve come in for criticism for building projects and innovations and there have been more than a few battles, and they continue today as I present new plans. As I reﬂect on this ownership, I would like us to embrace the journey and move forward together: “If we want things to stay as they are, things will have to change,” Guiseppe Tomasi di Lampedusa, The Leopard. A planned public consultation will be held early in the New Year where interested parties will be able to review these future plans. porthlevenharbour.co.uk
INSET Trevor Osborne
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