The circle OF LIFE
Finding continuity and connection in the world as we discover the infinite energy of nature
The
A JOURNAL FOR THE DISCERNING
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A JOURNAL FOR THE DISCERNING
On the cover
Sandcast disk pendant from Justin Duance Contemporary Jewellery. Photography by Issy Carreira. As featured from page 41. justind.co.uk
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Foreword
The infinite energy of nature is a dynamic force which fuels creativity and inspires artists and artisans. It might be the vibrant colours of a sunset or the still grey light of dawn; the rhythmic patterns of ocean waves or the grains of sand on a beach; a wild coastal landscape or a more bucolic setting. This potency is oft-captured in art and design, with pieces that echo nature’s vitality, reminding us of our deep connection to the earth. This symbiotic relationship between nature’s inexhaustible spirit and the artistic expressions it ignites, is evident in the work of Jo Downs (28). Drawing inspiration from the things that catch her eye on the shoreline, she spins them into an endless series of beautiful fused-glass works. Jewellery collections from Justin Duance (41) follow a similar pattern, with designs whose
artistry mark a moment of time and place, telling a story through precious stones and metals. Our exploration of nature continues with the intricate connections made by painter Emily Powell (77). Her new body of work celebrates summer’s wealth of natural beauty, using bold and brilliant colour in an expression of love and joy. In juxtaposition, artist Jack Whitefield (110) finds beauty in desolation and destruction, proving that whatever part of the natural cycle we find ourselves in, it has an innate ability to fuel the creative process. Lovers of artistic expression, aficionados of fine craftsmanship and admirers of the natural world, are invited to join us as we journey through a set of narratives that combine elegance and creativity, innovation and expression and an overarching passion for the natural world which surrounds us.
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Providing life changing opportunities for young people across the UK www.diveprojectcornwall.co.uk
Martin Holman
Hannah Tapping
Mercedes Smith
Jamie Crocker
Lydia Paleschi
Lucy Studley
Immense Contemporary Residence of Unique Architectural Design
Sandylands | Egloshayle | Wadebridge | PL27 6EL
£2,700,000 Guide
This immense contemporary dwelling has been completed to an exemplary and luxurious standard seamlessly blending innovation, comfort, and style with an impressive 6,635 square feet and a unique architectural design arguably unrivalled in the region. The extensive and impressive noteworthy features include a 12m indoor heated swimming pool, a coded secret room, a sunken spiral wine cellar which holds approximately 1,500 bottles, underfloor heating via air source heat pump, solar PV, MVHR, full CCTV and alarm system, EV charger, Nissan hut and hot tub.
LOWER PENNELLICK FARM | EAST TAPHOUSE | OIEO £1,325,000
AN ATTRACTIVE PERIOD PROPERTY WITH A SEPARATE ANNEXE, A RANGE OF OUTBUILDINGS AND 7.8 ACRES OF LAND.
BARNFIELD | GWEEK | GUIDE £1,250,000
A GRADE II LISTED GEORGIAN RESIDENCE WITH FOUR BEDROOMS AND A DETACHED COTTAGE, SET IN APPROXIMATELY 1.6 ACRES, WITH IMPRESSIVE WATER VIEWS.
AN IMPRESSIVE, SPLIT-LEVEL, SOUTH FACING, CONTEMPORARY SMART HOME WITH STUNNING VIEWS OVER THE RIVER GANNEL ESTUARY.
AN ATTRACTIVE DETACHED PROPERTY, EXTENDED AND REFUBISHED BY THE PRESENT OWNERS. THE PROPERTY ENJOYS BEAUTIFUL GARDENS, A PADDOCK AND AN AREA OF WOODLAND. TRENINNIK HOUSE |
17 A BIRD’S EYE VIEW
Through the lens of Matthew Burtwell
28 THE ARTISAN BEACHCOMBER
The tide turns as Jo Downs takes her inspiration from the shoreline
41 THE CIRCLE OF LIFE
Jewellery that marks a moment in time and place
50 BLENDING NATURE AND INNOVATION
Designed for family living in the heart of Cornwall
58 LUXURY HOMES
At the pinnacle of the Cornish market
69 SEASONAL DELICACIES
F i i r i brought in by the tides and seasons
91 DISCERNING TASTE
Highlighting culinary talents and regional producers across East Devon
99 TIME FOR TEA
A gourmet delight designed to be shared with friends and family
106 MASTER OF TIME
Inspiration, engineering and why the old ways are best
110 PULLING MEANING OUT OF OPEN SPACE
Finding beauty in desolation and destruction
122 EVENTIDE
The last word from Kate Wild
A bird’s EYE VIEW
WORDS BY HANNAH TAPPING | IMAGES BY MATTHEW BURTWELL
Ten years of capturing Cornwall from above.
Aerial Cornwall was launched by Matthew Burtwell in 2014. He had found a passion in taking images around the Cornish coastline from new and different perspectives: “Cornwall means so much to me. I have fond childhood memories of summers spent on the beaches and in the water and of countless coast path walks at the weekends. I started out photographing these areas from the air purely for personal interest.”
The rise in drone popularity alongside the demand for aerial images for commercial use saw Matthew’s hobby quickly evolve into a business and he’s never looked back: “Cornwall’s coastline is highly photogenic; the stunning water clarity, popular beaches, interesting rock formations and lively boat activity all play a part in how it looks from the ground and, of course, the air. Drones provide almost unlimited opportunities to capture familiar landscapes from fresh, new perspectives. Sometimes it takes a while to recognise where photos of even the most renowned locations were taken.”
Matthew takes great pride in what he’s achieved so far: “I’ve built up a huge library of images over the past decade, and there are just a few places I’m yet to photograph. I enjoy capturing existing locations at different times of year and have found, with the improvement of camera quality, it’s interesting to revisit places and refresh some images in a much higher resolution than I’ve been able to achieve before.
“In 2021, I took to the air in a Cessna 152 plane for some photography flights around Cornwall which enabled me to cover many places in a short amount of time – much quicker than travelling to each location by car. Photographing the coastline by leaning out of a plane window with a camera and seeing it with my own eyes was an incredible and unforgettable experience.”
Last year, Aerial Cornwall launched a new website complete with an online shop selling prints, calendars and art posters where you can browse Matthew’s print collection, latest photos and the full range of services he offers.
aerialcornwall.com
TOP Helford River ABOVE Hayle Estuary
ABOVE
Kynance Cove
TOP Sennen Cove ABOVE Fistral Beach
TOP Bude
St Ives
The artisan BEACHCOMBER
WORDS BY MERCEDES SMITH
Jo Downs has always taken her inspiration from the shoreline. Now the tide has brought her a beautiful new idea.
You might say that artist Jo Downs began her career in Cornwall as a beachcomber, as an avid collector of all things inspiring and beautiful along the coastline. She takes the things that catch her eye – ripples on the sand, deep blue tidal pools, spectacular sunsets – and spins them into an endless series of beautiful fused-glass works.
Each season Jo releases a new collection and this summer she brings us something with a little extra feel-good in it her very rst works in recycled glass. It was whilst walking along the sand near her Tintagel home last autumn that Jo found inspiration for the collection. “I spend a lot of my downtime on the beach” says Jo, “for relaxation and for inspiration. very day is different on the coast the
sky might be blue or grey, the sea might be still or stormy, and the sand beneath my feet will change shape from hour to hour. might sit and watch the star sh in the rockpools, or browse for seashells, but that day it was sea glass that caught my attention.
“Finding sea glass is a funny thing. It’s delightful – all those pretty, unexpected colours and shapes, but it’s also sad, because you know that glass shouldn’t be in the sea and it shouldn’t be on the beach. Lots of artists here make beautiful recycled jewellery out of sea glass and they are helping to clean up the coast as they do it. That eco-friendly aspect is part of the pleasure in buying those things and it suddenly occurred to me that we could use all our damaged or excess glass directly,
without reprocessing it – use all the brightly coloured broken chips and shards just as they are, to make something beautiful that is ethical too.”
Titled Artisan Beachcomber, Jo’s new collection launched this summer. It has a distinctly different feel to her other collections, being made of thousands of discarded glass pieces in as many colours, with a dense and beautiful surface that makes real beauty out of recycled glass. “Everyone is trying hard these days to move towards a more sustainable way of working, says o, and we are no different t s di cult in usiness, there are so many challenges, but step by step we have to achieve it. These new designs go a small way towards that. Just as importantly, buying works from the Artisan Beachcomber collection will allow people to express their own sustainable values, and hopefully reassure people that we have those responsibilities in mind as well.”
Jo Downs Handmade Glass has so far invested in plastic-free branded packaging, and they recycle all of their used packaging, including that returned by customers. They pack their delivery boxes with shredded paper, are reducing and recycling waste materials, have installed electric vehicle charging points at the Launceston workshop and are looking into ways to
remove plastic entirely from their six glass galleries. Jo’s galleries remain, as always, a mainstay of Cornwall’s best-loved coastal towns and have become part of the identity of places such as St Ives and Padstow, Tintagel and Fowey.
“I think visitors appreciate that each Jo Downs gallery has a distinct personality, design wise,” says Jo. “I sometimes meet people in our Padstow Gallery who say to me ‘Oh! We bought something in your St Ives gallery yesterday!’, and then they will buy something else that is distinctly ‘Padstow’. I love hearing that. I want people to know that my designs celebrate each special and unique Cornish place, and that those places inspire the work.”
o s aunceston gallery is different though Its focus is on larger scale interior pieces and commissions. “This is where we design and make the work,” says Jo, “so it makes sense to welcome visitors here if they are thinking about a really special piece for their home, or if they want to discuss the possibility of a private commission.”
Jo makes a limited number of private commissions each year, creating work for homes and corporate clients here in the UK and as far away as New Zealand. Her latest international commission has just een flown out to Canada and installed by the Jo Downs team in a private house
Architecture & Interiors
CREATE
on Vancouver Island. “It’s exciting to make work for spectacular settings in far off places, says o, and it s great to e given the opportunity to link Cornwall to international places through my work like to think of those far away works as am assadors for Cornish design, ecause we have as much natural inspiration and creative talent here in this county as anywhere in the world
hen she is not handcra ing interior pieces and private commissions with her skilled team, much of o s time is spent in her private studio space, drawing, painting
and test ring potential new gallery collections eing any sort of designer is a life of endless development, says o, and honestly that s what s wonderful a out it It’s so important to keep pushing forward with ideas, to keep e perimenting and creating new things to inspire people. Lots of visitors come ack to Cornwall year on year they are devoted to the place and there is so much to en oy here, so many different landscapes and locations can t ever imagine running out of inspiration in Cornwall can t go anywhere here, for work or pleasure, without picking up a million artistic inspirations
ABOVE eachcom er large fold form vase
ABOVE eachcom er large fold form detail
ABOVE art of the oseland Collection
This year, The Roseland is the place that has inspired Jo’s work, an area famous for its rolling natural landscape and lush plant life. “It has been a revelation spending time on The Roseland peninsula,” says Jo. “Throughout my career I’ve done a lot of work in response to the Atlantic north coast, which is pretty exposed and rocky, and can be very dramatic. The Roseland, though, is different it s so sheltered and so much so er, and has all these glorious floral colours in the spring and summer It has the same white sand and blue water as the north coast, ut the cliffs are ust dazzling with all those beautiful Sea Pinks
and swathes of purple Rock Sea Spurrey, and the violet-blue of Spring Squill. It’s glorious there! I am so inspired by it, so those are the colours I’ve poured into my new Roseland Collection, colours which reflect all that otanical eauty y the sea The collection includes bowls, mirrors and Jo’s distinctive fold-form vases, as well as hangings and wall-mounted work, and is available at all Jo’s galleries this summer. “I really love it and I hope that our visitors will love it and the Artisan Beachcomber collection too.”
jodowns.com
ABOVE oseland fold form vase
The circle LIFE of
WORDS BY HANNAH TAPPING
Beautifully bespoke jewellery design that marks a moment in time and place.
It’s one of those special mornings in Cornwall when, a er a night of rain, awake to a clarity that makes everything around me appear in high de nition
The blue of the sky, the verdant hedgerows, the glisten of the sea; all heralding the day with renewed freshness
My morning commute takes me along the gentle curve of Mounts Bay, where St Michael’s Mount stands sentinel surrounded by the glassy ocean, before heading inland to seek out jewellery designer ustin uance s workshop
Driving through the tree canopied lane towards Boscathnoe Reservoir m intrigued as to what will nd
ir ohn Cass aculty of rt in ondon, his rst outlet was in ondon, ut Cornish galleries were keen to stock his work and so he moved back to his homeland, subsequently setting up his own jewellery design usiness
Born in Truro, Justin spent his formative years in udan and ran, ut with extended family in Cornwall regularly returned to the uchy er studying for a in ewellery and ilversmithing at
Housed in an historic former pump house, walking into Justin Duance
Contemporary Jewellery is like stepping into a peaceful haven of creativity and cra smanship This isn’t your typical jewellery showroom with items locked ehind glass cases
Here, you’re invited to immerse yourself in the process, try on pieces at will and even watch the ewellers at work m greeted by Justin and fellow jeweller Jamila Hirtenstein, who make up a team of ten highly e perienced cra speople, many of whom have honed their cra under ustin s tutelage hile some ustin uance
TOP LEFT fraction of the sand collection for you to choose from
ABOVE ward winning sandcast signet ring in a sustainably sourced cork ring box
RIGHT set
TOP
of commissioned rings inspired by Justin’s designs and made from heirloom materials
ABOVE
Selecting the perfect vintage old cut diamond
MIDDLE Sparkly sandcast signets
ABOVE ood and ock rings at Battery Rock
pieces are availa le ready made from ff The Bench Peg – a collection of jewellery where the team have been given the creative freedom to create new designs and showcase one off gemstones most are espoke commissions However, commissions like no others as amila e plains
hen customers ook an appointment to visit us, this is where they come e talk them through the different collections and then ust encourage them to try things on e adopt a laid ack approach and make it as fun as we can ur ewellery is very tactile and so it’s important to us that our customers can not only see, but touch and feel the pieces ur aim is to create bespoke pieces that resonate with the customer, o en involving a high level of personalisation t s rare for someone to walk out with something exactly as it was displayed; the beauty of our jewellery lies in its customisation
commission used part of a weathered post from a family’s moorland farm while another came from a anister from a much loved home The wood ages organically, developing a unique character over time that can’t be replicated o two rings age the same and it’s dependent on how a person’s hands are exposed to the elements or the nature of their work There is something uite magical and symbolic about this when combined with the contrast between the precious and non precious materials, the former encasing and protecting the later
Jamila and Justin start by talking me through the ood ing Collection which started over two decades ago These rings can e cra ed from silver, titanium, gold or platinum and are delicately inlaid with wood sourced from meaningful places ome contain wood from an old boat or whiskey barrels or customers o en ring in their own wood, adding an e tra layer of sentimentality recent
hen it comes to design, the sky really is the limit Customers can choose the width of their ring and the proportion of inlay; whether they want a flat ring or a comfort band; and can even include an inset gemstone or diamond
“These unisex rings are popular as engagement bands and we encourage our customers not to be too precious about them, simply to wear them as much as possi le The oils from our hands act as a natural sealant for the wood which in turn helps to create their uni ue patina over time, e plains ustin
e move ne t to a set of rings from the andcast collection Customers can supply sand from a beach that holds personal signi cance to them or choose from ustin Duance’s vast sand library that includes
FACING PAGE TOP
e The one of a kind sandcast Silver and vintage diamond ring from ff the ench eg ight The ustin uance workshop INSET
Pieces from the Sandcast jewellery collection
BIJOUX
beaches not just from around the Cornish coastline, but across the UK, Europe and the orld ith over sands in their collection, each piece tells a uni ue story The sand is mi ed with an oil ased su stance to create a mould, into which is poured the molten metal of choice to create the ring The te ture and details of the sand are captured in the metal, resulting in pieces that are as varied as the eaches they come from
s slip on a sandcast ring, amila points out the tiny marks made during the casting process and even some tiny grains of sand captured within the precious metal fell in love with a recycled silver and vintage diamond e ample from the ff The ench eg Collection
“Every now and again we make a sandcast ring that comes out with a completely off the wall te ture That s the case here, e plains ustin
“This ring captured so much of the Sennen beach sand it was cast in, it s a real one of a kind ur eweller Chloe added a light scatter of vintage diamonds that give it a su tle sparkle
bands, consoled only by the eager expectation of my ne t discovery
nspired y the granite of Cornwall, the ock collection was designed to incorporate a te ture reminiscent of the Cornish cliffs They can be inlaid with wood, or diamonds that look as if they might have found themselves wedged there a er a stormy night The rugged casting adds to their tactile nature
ts weight and te ture have that reassurance and reminiscence of holding a small granite pe le in my hand when was little girl thinking had found treasure on the each and as turn my hand to the light the diamonds are so subtle, they are almost hidden, if it weren’t for their moments of rilliance reluctantly return it to its fellow
Clients are encouraged to bring in their own gemstones or diamonds from inherited, unloved or perhaps poor tting ewellery pieces to be repurposed into something that can be loved and worn for another generation Justin Duance’s jewellers are no strangers to being presented with multiple pieces and creating something entirely new from them ome might be as simple as resetting a single favourite stone while other commissions have included designing a ring to incorporate a whole ewellery o full of diamonds amila shows me some of their own examples of old cut diamonds that they have availa le for commission, which they showcase in temporary settings These stones, o en reclaimed from vintage jewellery, have a distinct charm which customers can select to t their taste and udget, choosing a single setting or a cluster design is really only limited y imagination nlike modern cuts, their facets reflect light in a way that feels more organic and less uniform ach
TOP commission using heirloom diamonds salvaged from different pieces and rought together into one show stopping ring
ABOVE uni ue rough diamond set in a 22ct yellow gold sandcast bezel
stone comes with a history, o en unknown, ut which adds oth a layer of intrigue and sustaina ility like to think that the one ve ust placed on my nger was once given to a ictorian Cornish gentlewoman y a salty sea dog pirate as a mark of his unre uited love
There is, of course, the option to select a rilliant cut diamond and these are all sourced from Canadian mines so that their origin can e traced from mining through to their cutting and polishing process e aim to have as little impact on the environment as possi le, so as of we pledged to use only fairly traded and fully traced diamonds and gemstones, e plains ustin The most recent collection is the ignet ing, which ustin tells me has ecome increasingly popular as this style of ring sees a resurgence in fashion s you would e pect, a ustin uance signet ring is more than the sum of its parts esigns include sandcast with wood inlays as well as e uisite tiny cascading diamonds and gemstones
tradition and modernity delicate les, pliers and saws sit on enches ne t to state of the art microscopes that ena le the ewellers to set the smallest of gemstones with precision polishing wheels and lathes are neigh ours to a digital engraving machine that can add discreet messages of love and sentiment to your piece while a small side room houses ustin s precious faceting machine where he cuts his own stones
s much as it s hard to tear myself away from the rows of treasure see efore me, m intrigued y the workshop see eyond the window i ewellers heads are ent over their enches working on the various stages of creation ne is carving a wa prototype, while another carefully polishes a nished piece The workshop is a mi ture of
The walls of the workshop are lined with ars of sand, each one different in terms of te ture and colour to the ne t, while the heady smell of hardwood emanates from drawers of offcuts found or donated for wooden inlays The workshop e udes artisanal e cellence and am struck y how calm and content each eweller is in their work There s almost a reverence for their work, derived from the knowledge that what they are creating holds the highest meaning for its recipient ven the packaging has een carefully thought of sustaina ly sourced, reusa le cork o es lined with felt which can e removed to create a home for keepsakes ust as m leaving a couple arrive for a commission appointment, their smiles and e pectant faces are a true testament to the very special place that is ustin uance Contemporary ewellery
justind.co.uk
ABOVE selection of wood rings, pendants and cu inks
Blending nature INNOVATION and
WORDS BY JAMIE CROCKER
Featherbeds – a low-energy, passive eco-house, designed for family living in the heart of Cornwall.
Harmonising seamlessly into its rural setting, this passive-house inspired project is a testament to a symbiotic blend of nature and cutting-edge design. Featuring a main family home and a separate building which houses an indoor swimming pool, yoga room, workshop and garage, this residence not only complements its surroundings but enhances them.
The journey began with a plot that came with planning permission to convert and extend a poorly constructed barn. However, it was quickly realised that the standing building was hardly fit for purpose and would actually require demolishing. The new owners, realising the pitfalls that can often beset a pro ect that steps beyond the original consent, decided to find an architect who could help them achieve their
vision. ARCO2 was that choice. Their ethos was a good fit with their own. With over 21 years’ experience in building exceptional, bespoke, sustainable and award-winning buildings, they are a company that offers a comprehensive approach to projects, that starts from the initial conception of the very first idea through to completion.
Bringing onboard Cornwall Council and the Parish Council proved to be not such an onerous task, with all parties maintaining channels of communication, subscribing to the vision of a replacement dwelling that exuded quality, sustainability and respect for the setting. The goal was a family home for the owners and their two children that would be as self-su cient as it was beautiful, making full use of natural light and offering private views of the secluded valley.
SUSTAIN
The client’s brief was an ambitious one. To replace the sub-standard barn with a sustainable family home. The design needed to maximise the site’s potential, ensuring every room was bathed in natural light and framed by views of the valley below. The home was to combine single and double-storey areas using natural materials like stone and timber, along with modern elements such as zinc. This contemporary design would respect the local vernacular while enabling indoor-outdoor living spaces, drawing inspiration from Californian, Balinese and Cornish architectural styles –a considerable challenge, indeed.
It became a place where craft met design. The house was designed to flow with the landscape, incorporating various levels to maintain harmony with its surroundings. The north-east single-storey wing, housing the kitchen and dining areas, appears to float over the new pond, offering direct garden access via decking. This area embodies a Californian aesthetic, complete with a mono-pitched wildflower green roof.
The two-storey section features a shallow pitched gable roof, housing a lounge that benefits from evening sunlight within a private walled courtyard – an ideal safe haven for the family’s dog. The firstfloor master bedroom, with its Balineseinspired design, offers stunning views over the site and captures both morning and evening sunshine.
The entrance wing, designed with a contemporary Cornish look, includes three bedrooms and a playroom, all opening directly onto the garden. Each room boasts views of the eastern woods and
private garden areas, characterised by a mono-pitched zinc roof and natural stone walls. One of the design’s most significant challenges was blending these differing architectural styles while minimising visual impact. Cleverly hidden behind a spline wall, the Californian and Balinese wings are concealed from the driveway, presenting a smaller, cohesive contemporary Cornish façade upon approach.
The project’s second phase introduced a complementary pool building with a yoga room above. This structure needed to harmonise with the main house, merging Cornish and Balinese architectural elements into a unique style. The landscaping around both buildings was designed to flow freely with the existing terrain, incorporating a large pond and a Japanese garden.
Constructed on an encapsulated cast in-situ concrete raft made locally using secondary aggregates, the house is both robust and eco-friendly. The walls, comprising two independent timber frames spaced 400mm apart, are insulated with recycled newspaper, eliminating cold bridging. The roof uses engineered I-joists to lessen timber usage while maximising span and minimising thermal bridging. Internal stone walls, limestone flooring and multiple layers of plasterboard provide thermal mass, ensuring smooth temperature regulation.
Exceeding minimum Passive House thermal standards, the home maintains consistent comfort throughout the year. Despite its size and the addition of an indoor heated pool, its energy demands are minimal. A high-performance water source heat pump, with slinky pipes submerged in
ABOVE
A melding of Californian, Balinese and Cornish styles
the large pond, heats the pool water, space heating and hot water, greatly enhancing efficiency. Future plans to install PV panels and battery storage on the pool building roof are expected to further reduce running costs and carbon emissions.
There were some challenges that presented themselves en route. Securing electricity for the site was a daunting and a costly endeavour. Although the team considered running the property off-grid, the potential for winter energy shortfalls necessitated mains electricity installation. During construction, ADD Sustainable Construction used a biofuel-powered generator to mitigate environmental impact.
In terms of sustainability the project included extensive landscaping and renewable technologies with a focus upon waste reduction, recycling and using environmentally responsible materials.
Key features of the building’s technical specifications include a MVHR (Mechanical Ventilation with Heat Recovery) system that provides fresh filtered air into a building whilst retaining most of the energy that has already been used in heating it. In this instance high-efficiency Vent Axia Sentinel Kinetic Plus units, with automatic humidistat boost control and summer bypass, were chosen. A Mastertherm Aquamaster Inverter 45i water source heat pump was installed along with underfloor heating in both ground and first floors controlled by programmable thermostats.
All lighting is 100% low-energy lighting whilst every appliance is A-rated. Before demolition, a dedicated bat building was constructed, thus mitigating the impact upon the local bat species. The new pond, wildflower roofs and additional planting have significantly boosted site biodiversity.
Designed for minimal upkeep, the house features self-cleaning glass in hard-toreach areas, durable zinc roofs and natural stone and timber finishes requiring little maintenance. The heating system, MVHR and treatment plant are robust, requiring minimal annual servicing. The pool employs an ozone system, reducing chlorine use and subsequently reducing its environmental impact.
The whole project champions low embodied CO2 content, with materials chosen for their sustainability and low energy footprint. Examples include Warmcel recycled newspaper insulation, FSC and PEFC accredited timber and various recycled and low-toxin building products.
This passive, low energy house stands as an exemplar of sustainable living, enhancing its landscape while providing a comfortable, eco-friendly home for its residents. The project demonstrates that with thoughtful design and innovative construction, a house can indeed make the landscape more beautiful than it was before – a sentiment echoed by Frank Lloyd Wright.
arco2.co.uk
TRANQUILLITY Discrete
Beautifully presented, this former rectory bene ts from a private setting within substantial parkland gardens.
Standing at the end of a long private driveway, this property enjoys seclusion yet offers e cellent accessi ility to the trunk road, Bodmin Parkway mainline railway station and Cornwall irport ew uay, which is a out minutes away The accommodation is divided into two interconnected residences, which can e easily converted ack into a single property
The main two storey area features an entrance vesti ule, large hall, dining room, sitting room, garden room, modern kitchen with German units, utility room, WC and ve en suite edrooms on the rst floor The West Wing, with its own entrance, includes a vesti ule, hallway, high spec kitchen, utility room, C, open plan living dining room with vaulted ceiling, me anine o ce space, two en suite edrooms and a private terrace The property sits on three acres of mature parkland with ample parking and a potential out uilding
LANIVET MANOR Guide price: £1.825M
ROHRS & ROWE 01872 306360
info@rohrsandrowe.co.uk
rohrsandrowe.co.uk
IT ALL Away from
An alluring and secluded mini-estate with historic references as far back as the Domesday Book.
This property between Falmouth and Truro enjoys an idyllic setting on the edge of Ponsanooth. The grounds are simply stunning, in fact, it is the setting and level of privacy that make Cosawes Barton so special. It’s unsurprising that the site has been so popular as a wedding venue, nor that the three included holiday lets (in addition to the expansive main residence) have been so successful, achieving a 5 Star Gold Award status.
The main house is supremely charming. Facing into the grounds and away from the cottages, it also provides a great deal of privacy for the owners. Generous living spaces, a large sociable kitchen and four bedrooms (including a master en suite) provide plenty of room to spread out, with vaulted ceilings, original features including eamed ceilings and a replace, and beautiful interior touches that celebrate their rural Cornish locale.
COSAWES BARTON Guide price: £2.75M
ROHRS & ROWE 01872 306360
info@rohrsandrowe.co.uk
rohrsandrowe.co.uk
This new property offers the best for those seeking the ultimate in coastal living.
Situated in one of the most coveted spots on Cornwall’s north coast, Tresco is a brandnew contemporary detached house just 200 yards from Treyarnon Bay’s golden sands. This luxurious home boasts six bedrooms and ve athrooms, offering over , s uare feet of uni uely designed space t features a German Nolte kitchen, spacious open-plan living area and modern amenities including an air source underfloor heating system and an EV charging point. Here you can enjoy breath-taking sea views from the substantial roof terrace, balcony and granite patios.
Located a mile from Trevose Golf Course and close to adstow s historic uayside restaurants, Tresco epitomises coastal luxury.
TRESCO Guide price: £2.75M
JACKIE STANLEY 01841 532555
sales@jackie-stanley.co.uk
jackie-stanley.co.uk
A special
PLACE
State-of-the art contemporary living in rural Cornwall.
This new build includes a spacious fourbedroom main home, self-contained annex and integral double garage. Located on a former meadow on a private road near Stithians, it has easy access to Truro and Falmouth. The eco-friendly build features under oor heating from a Grant Aerona 3 Air Source heat pump, high insulation and Schuco glazing controlled by a Heatmiser smart system.
The 3,500 s are foot interior boasts three-metrehigh ceilings. The ground oor, features an open-plan living area with Tuscan marble effect tiles, panoramic Kennall Valley views, a Torben Schmid Bauformat kitchen, dining and sitting areas and a glass balustraded balcony. This oor includes a spacious principal bedroom suite, a walk-in wardrobe and an en-suite shower room. A utility room and cloakroom complete the oor.
The lower ground oor has two bedrooms sharing a family bathroom, a study (fourth bedroom), and a fully fitted annex. The annex can be independent or integrated and includes a sitting room, kitchen, dining area, bedroom, and en-suite. illeroy and Boch fittings, Miele appliances and Dekton feature throughout.
ON THE EDGE OF STITHIANS Guide price: £1.275M
JACKSON-STOPS 01872 261160
cornwall@jackson-stops.co.uk
jackson-stops.co.uk
A stunning coastal property set in the village of Rock, with fabulous views looking out across the Camel Estuary.
Black Rock House has been completely renovated with super nishes and meticulous attention to detail throughout, to create luxurious and soothing living spaces. Situated within easy reach of the St Enodoc Hotel and north Cornwall beaches, it provides generous accommodation throughout, with planning permission in place to extend further.
This modern property boasts a well-equipped open-plan kitchen and dining room that opens to the south-facing garden and patio, two elegantly appointed reception rooms, and a spacious utility room with a uilt in wine cooler n the rst floor, a guest en suite edroom, whose dual aspect windows offer views across the Camel stuary, is accompanied by two comfortable double bedrooms and a family bathroom. The principal suite on the second floor serves as a private retreat, complete with a walk-in bathroom and a slipper bath perfectly positioned to take in the expansive estuary views.
SHOW HOME OPEN TUESDAY - SATURDAY 10am - 5pm
SHOW HOME OPEN TUESDAY - SATURDAY 10am - 5pm
SHOW HOME OPEN TUESDAY - SATURDAY 10am - 5pm
SHOW HOME OPEN TUESDAY - SATURDAY 10am - 5pm
SHOW HOME OPEN TUESDAY - SATURDAY 10am - 5pm
Seasonal DELICACIES
t c ef en unnicli e’s maritime inn next to ewlyn ar our, t e c alk oard menu evolves su tly every day, following t e e and ow of ingredients roug t in y t e tides and seasons.
WORDS BY LUCY STUDLEY | IMAGES BY BETTY PATON
eared scallops, road eans, mint and vermout
SERVES 4
INGREDIENTS:
3 large scallops per person (cleaned) ro 1 1. g broad beans
300ml vermouth
ml reduced sh stoc
METHOD
Remove the broad beans from their pods and blanch for about 30 seconds in salted, boiling water until tender. Drain and refresh in iced water, then remove the outer shell from the beans if you feel it necessary (if they’re young and fresh, you probably don’t need to bother). Set aside in the fridge until required.
Reduce the vermouth by boiling to approx. ml, then add the reduced sh stoc and cream and reduce to the consistency of a thin sauce (don’t reduce it too much as it will set in the fridge - you can always reduce a little more while the scallo s are coo ing . et aside to cool, then refrigerate until required.
When ready to eat, put your creamy sauce in a suitable sized pan to reheat, and gently warm to a simmer you might want to thic en it slightly more at this stage by coo ing for a little longer.
200ml double cream
12 large mint leaves ( nely s redded)
A little vegetable oil
Heat one or two frying pans, giving enough space for all of the scallops. Lightly oil with your chosen coo ing oil and add your scallo s one at a time neatly on their flat sides. oo for seconds to a minute until a lovely golden brown, then turn them over, season with salt and e er and coo to your desired degree. If they are super fresh, then always undercoo slightly
hile the scallo s are coo ing, add your shelled broad beans to the sauce to warn them through. dd the nely shredded mint leaves, and adjust seasoning if necessary.
To plate, pour the beans and sauce into four bowls and ut three coo ed scallo s in each.
Serve with fresh, crusty bread and a nice glass of white wine.
ur ot, raised gem lettuce, peas, pancetta, girolles tarragon
SERVES 4
INGREDIENTS:
ortions of s inless urbot
2 little gem lettuce
2 ml reduced chic en stoc
1 shallot, nely diced
200ml dry white wine
1 tsp caster sugar
50ml white wine vinegar
METHOD
Remove any loose leaves from the outside of the little gem – these can be used for something else. Cut the little gem in half lengthways and set aside.
Clean the girolles or whichever mushrooms you’re using with a damp cloth. If necessary, cut the mushrooms into smaller pieces. Sauté in a hot pan and season, then put onto a suitable si ed tray to cool. low coo your pancetta lardons in a frying pan until crispy –drain away the fat.
o ma e the sauce, sweat the diced shallots until soft but not browned. dd the caster sugar and allow to caramelise a little. Add the white wine vinegar and reduce until all gone, then add the white wine and reduce by approximately 90%. Add 150ml of the chic en stoc , retaining the rest for later and reduce to your preferred sauce consistency. Set aside.
When ready to serve:
eat the oven to 1 . eat a frying an for the little gem and another for the Turbot.
tbs ancetta lardons tbs coo ed and refreshed eas
150g girolles (c estnut or closed cup mus rooms will work if girolles not availa le)
1 ts nely shredded tarragon leaves
30g cold diced butter little coo ing oil
Add a little oil to the one for the gem, and ut it into the an flat side down. llow to colour. Add approx. 100ml of water and the remaining ml of reduced chic en stoc , season and braise in the oven in the frying pan for around 3 minutes until tender.
eanwhile, ut the ieces of urbot into a hot an with a s lash of coo ing oil, and coo for a few mins until golden. urnover and nish coo ing. f you have a tem erature robe, would recommend ta ing the sh off the heat when its core is about 2 as the residual heat will continue to coo the sh. ll fresh sh is much better if slightly undercoo ed
hile the urbot is coo ing reheat the sauce and add the lardons and girolles. Stir in the cold diced butter, stirring until melted and emulsi ed into the sauce. dd the eas and tarragon and leave on a gentle heat for a minute or so to warm through the peas.
To plate, put each portion of Turbot onto a warm plate, place the gem lettuce beside it, and spoon the sauce over.
ou can of course ust ma e meringue or uy t em) and mix with whipped cream and strawberries to ma e the classic ton ess. However, if you fancy a bit of fun and have the
SERVES 4
INGREDIENTS:
For the Strawberry Jelly :
1 g strawberries g caster sugar
For the meringues:
100g egg whites
200g caster sugar
METHOD
For the strawberry Jelly:
For the cream:
time, then ma e this ton idy as described below. You’ll need to plan ahead, preparing your jelly and meringues the day before.
100g pastry cream (cr me p tissi re)
100g mascarpone
200ml double cream (w ipped)
Remove the green tops from the strawberries and toss them in the caster sugar in a stainless steel bowl, then cover with cling lm and set over a pan of gently simmering water. fter a cou le of hours, you ll have what loo s li e tinned strawberries in a beautiful strawberry liquor.
Strain gently and cool the liquid.
In a saucepan, add 0.6 of a gram of Agar gar to the cold li uid and whis , bring slowly to the boil and simmer gently for a few minutes. Pour into a suitably sized tub/tray that is at least 2cm deep and lined with three layers of cling lm. eave to set and then cut into cubes.
For the meringues:
reheat the oven to . ut the egg whites into a clean mixing bowl with a small pinch of salt and whis , until soft ea s form you could do this by hand or with a machine. Add the sugar a bit at a time whilst whis ing until all the sugar has been used and the meringue is thic and glossy. t this stage we i e them into little log sha es little nger si ed and oven dry at for about three hours.
For the strawberry coulis:
A couple of punnets of local strawberries
Approx. 1 tbsp icing sugar
A few drops Cointreau (optional)
Zest and juice of ½ an orange
Once cooled they can be stored in an airtight container for a few days comfortably.
For the cream:
eat the astry cream with a whis until smooth, then beat in the mascarpone with a whis . ently fold the whi ed cream into the mascarpone mix. Put into a piping bag and pop in the fridge until needed.
For the strawberry coulis:
o ma e the strawberry coulis, uree about half your strawberries (reserving the rest for plating) with the Cointreau, orange zest and juice and icing sugar. Chop the remaining strawberries into halves or quarters depending on size, and toss in the coulis just before serving.
To combine…
i e or s oon or iles of cream mi ture onto a plate, lean meringues up against each dollop of cream, and arrange some of the strawberries in the coulis mixture randomly around the plate, interspersed with cubes of strawberry jelly.
Love and Joy FLOWERS in the
WORDS BY MERCEDES SMITH
The collection celebrates the beauty of the season and expresses the artist’s immense sense of gratitude for summer’s wealth of natural beauty.
“It has been proven again and again that being in nature is hugely important for improving our wellbeing, and that colour supercharges our mood. For this exhibition I wanted to bring together a collection of works that combine the two, highlighting the joyous wonder of being alive,” says Emily.
As a contemporary colourist, Powell has made a swift and significant mark on the British art scene over the last few years,
creating bold and brilliantly coloured still lifes, grand oral depictions and images of ethereal ying wildlife in a wide variety of media, from paintings and drawings, to collages and sculptures. Expressions of love and joy are central to her work. Emotions are characterised by a host of familiar and exotic animals amid scenes filled with curious trees and vivid owers, enhanced by her preference for painting on a monumental scale in a way that immerses the viewer in a world of colour and fantasy.
Recent collections have re ected her journey into motherhood following the birth of her daughter in the winter of 2021, as well as the turbulence of global
TOP Sometimes I Worry About All The Underwater Flowers I Haven’t Seen - 30x21cm
ABOVE
Happiness And The Start Of New Adventure Hung
In The Air Around The Flowers - 30x21cm
and domestic politics over the past few years. Painted in her distinctive bold and brilliant palette, this uplifting collection demonstrates her talent for touching allegory, subtle wit and powerful emotion.
Emily Powell studied at Norwich School of Art and at the Ecole Régionale des Beaux-Arts de Rouen in France. She has exhibited with the Royal Society of Art, collaborated with
MoMA, National Galleries Scotland and The British Museum, and in 2022 she was invited to paint the entrance of London’s Great Ormond Street Hospital for Children.
ABOVE
Daisies In The Moonlight - 30x30cm
LEFT When You Stand Really Close To The Bush - 162x100cm
ABOVE
Oystercatcher In Love - 100x120cm
ABOVE
Scotland Made Me Use Purple Again - 76x51cm
LEFT
Two Cuties And A Rose - 100x100cm
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Discerning TASTE
WORDS BY LYDIA PALESCHI
© Becky Craven
TOP
he arm able left , ebblebed ineyard s ar ling hite right
ABOVE arts arm harvest
© Matt Austin
© Matt Austin
© Matt Austin
Returning for its fourth year this September, the Taste East Devon Festival highlights the region’s culinary talents and producers.
Founded by local icons li e ugh earnley hittingstall s iver ottage, arts arm and yme ay inery, the aste ast evon estival romises an e ce tional gastronomic e erience. anning through from e tember 1 th to 22nd, attendees can en oy food fairs, vineyard tours, tastings and family friendly activities across ictures ue sites in ast evon. owever, what distinguishes this nine day celebration is its collaboration among local enter rises, each renowned for uni ue flavours and a commitment to sustainability. rift e lores the festival s highlights and the stories behind the businesses that ma e it a must attend event.
Celebrating provenance
ey as ect under inning the aste ast evon estival is rovenance, with a strong focus on locally sourced roduce. t s no sur rise that ugh earnley hittingstall s iver ottage is one of the founding members of the event. iver ottage, with its hiloso hy dee ly rooted in sustainability and self su ciency, is more than ust a business it is a movement. or years, it has guided food lovers on a ourney from farm to for , most famously through hannel s iver ottage series. ugh and his team ta e immense ride in sharing the rovenance of their food, detailing how the lants, meat and sh are
foraged, grown, raised or caught locally. heir dedication to seasonal, local, organic and wild ingredients influences every as ect of their o erations, from their farming methods to their menus.
riginally based in orset, iver ottage is now located near minster in evon. his 1 acre farm is home to an award winning sustainable coo ery school and an on site caf , serving as the antithesis of unhealthy, rocessed food. iver ottage offers a wide range of courses that cover the full s ectrum of self su cient food rovision. ith to ics ranging from gardening, foraging and artisanal s ills to fermenting, nutrition, and coo ing, iver ottage leaves no stone unturned in its dedication to teaching off grid growing and showcasing the brilliance of ritish roduce. hey will be sharing their nowledge at aste ast evon estival through their iver ottage easonal utrition for a ealthy ut class, lus their ong able east, which embodies the essence of their farm to for a roach.
Bringing together local businesses
he s irit of locally sourced, high uality roduce is also e em li ed by arts arm, which began in 1 1 as one of the s rst ic your own businesses ioneered by farmer, onald art. ver the ast years, his sons ichael and ames have evolved a small roadside hut into one of the most iconic food destinations in the
country, still driven by the same core values of community, sustainability, seasonality and su orting local.
arts arm has grown into a nationally award winning farm sho , overloo ing the beautiful lyst alley. t the heart of the business is their wor ing farm, run by eldest brother aul. sing traditional farming methods and centuries old rotational ractices, the farm thrives on its rich, red evonshire soil. ach morning, the farm team hand ic s fresh, seasonal fruit and vegetables to sell directly through the farm sho , ensuring that customers receive the freshest roduce ossible.
arts arm s dedication to local sourcing is evident not ust in their roduce but also in their relationshi s with other local businesses. hey actively artner with a networ of local food roducers, fostering a community of li e minded individuals committed to uality and sustainability. his collaborative s irit will be e em li ed during aste ast evon by their ast evon ood eroes inner at he arm able. heir arts arm ood estival also forms art of the larger festival itinerary and romises to introduce attendees with the eo le behind some of the est ountry s best roduce.
Quality and innovation
oining iver ottage and arts arm in the celebration of local e cellence is yme ay inery, a trailbla er renowned
ABOVE
yme ay rut eserve nglish
s ar ling wine aired with uic e s ady rue cheese
TOP he ig at ombe has food at its heart
MIDDLE ringing roducers, growers and chefs together
© Becky Craven
Unit 7 Alphinbrook Court, Alphinbrook Road, Marsh Barton, Exeter, EX2 8QR
Combining German quality and design with exceptional service.
At Kutchenhaus, you will find the best and most affordable high quality German kitchens with a wide range of modern handleless, contemporary or classic designs.
for its innovative approach to crafting exceptional beverages. Situated in the serene Axe Valley, Lyme Bay Winery has garnered acclaim over its 30-year ourney, earning prestigious accolades from competitions such as the International Wine Challenge, the International Wine and Spirit Competition and the Decanter World Wine Awards.
Lyme Bay Winery s commitment to uality and innovation is exemplified through their diverse range of products, including English wines, fruit wines, meads, li ueurs and spirits. Their Sparkling Ros Wine has been the recipient of the People’s Choice Wine Award for two consecutive years and their Pinot Noir 2020 secured an IWSC Trophy in 2022, marking the first English red wine to achieve this distinction.
Beyond their award-winning beverages, Lyme Bay Winery is committed to sustainable practices. They source grapes from selected growers across the country, ensuring that only the finest grapes from the best vineyards are used in their wines. This meticulous approach not only guarantees uality but also supports local agriculture and promotes sustainable viticulture practices.
During the Taste East Devon Festival, Lyme Bay Winery invites visitors to experience their guided tasting sessions, expertly paired with artisanal cheeses from uicke s Cheese, another esteemed local producer. Set within the winery s
Cellar Door, these tastings offer a ourney through avours that highlight the best of the region s offerings.
Connecting with the harvest
Amidst celebrating East Devon s culinary talents, Taste East Devon also provides opportunities for attendees to connect with the local harvest. Discover the diverse world of seaweeds along East Devon s beautiful coastline with Ebb Tides Seaweeds, an award-winning business. Led by Tony Coulson, you ll learn about the benefits of seaweeds and how to incorporate them sustainably into your daily life. The coastal walk introduces you to various edible seaweeds, fostering a deeper connection to East Devon s maritime environment.
There s also the chance to explore East Devon s ancient orchards for apple picking and pressing activities accompanied by live music, delicious food and drinks. Hosted by Courtney s, this event invites you to experience the oy of harvesting and pressing apples, either from the orchard or by bringing your own for uicing. These harvesting events celebrate the region s natural and agricultural heritage, providing attendees with a hands-on experience that connects them with the East Devonshire landscape. They offer a chance to engage directly with the land and sea, ensuring an enriching and authentic experience for all participants.
tasteeastdevon.co.uk
Time FOR TEA
WORDS BY HANNAH TAPPING
Michelin-starred chef Paul Ainsworth i i r ft r
tea, with a tasting menu that can be recreated at home with friends and family.
Cheddar cheese, caramelised Cornish cider apples, cinnamon and Rodda’s Cornish clotted cream served
on a cheese scone
SERVES 4
Preparation time:
30 minutes
Cooking time: 30 minutes
INGREDIENTS:
For the toffee apples:
100g muscovado or soft dark brown sugar
40g salted butter, cubed
80ml apple uice
1 small sprig of thyme
1 small cinnamon stick
3 Pink Lady apples, peeled, cored and halved for poaching
METHOD
Preheat your oven to 160°C.
For the Bramley apple sauce:
50g muscovado sugar
2 large Bramley apples
1 pinch of cinnamon
1 lemon, uice only
For the cheese scones:
170g Greek ogurt
60g Buttermilk
4 egg yolks (retaining 1 tbsp for glazing)
20g malt extract
25g self-raising our (plus extra for dusting)
85g Spelt Flour (or Emmer or r r)
To prepare the toffee apples, place a large heavy-based, oven-proof frying pan over medium high heat and melt the sugar with the apple uice until bubbling. Carefully whisk in the butter until emulsified before adding the thyme and cinnamon stick.
Place the halved apples in the pan and using a spoon, turn them all over to coat in the caramel. Put the pan into the oven and cook for 10-15 minutes until tender. ou can test this with a skewer or the tip of a small knife. When the apples are cooked, remove the pan from the oven and allow to cool to room temperature.
For the Bramley apple sauce, first peel your apples, remove the cores and slice them thinly. Heat a large heavy-based pan over medium high heat and add the sugar. When the sugar is bubbling add the apples and cinnamon, followed immediately by the lemon uice.
1tsp table salt
7g baking powder
75g unsalted butter, diced
30g grated cheddar
50g Grana Padano or Parmesan, grated
To finish:
A pinch of akey Cornish sea salt
1 sprig thyme leaves, picked
227g tub of Rodda s Cornish clotted cream
Small pinch of cinnamon
200g piece of your favourite mature cheddar
Cook the apples uncovered for 10-15 minutes until totally soft, lightly caramelised you ll have a thick pur e-like consistency. At this stage, you can blend the apples in the pan with a hand-held blender- although this is not necessary. Leave finished pur e to cool to room temperature.
To make the cheese scones preheat your oven to 180 C. Combine the yoghurt, buttermilk, egg yolks and malt in a ug, mix well and store in the fridge.
Combine the two ours, salt, baking powder, butter and cheeses in the bowl of a stand mixer fitted with a paddle. Mix on slow speed for 1015 minutes until you achieve a breadcrumblike texture. Alternatively, mixing by hand will be ust as effective. Then pour the yoghurt mix slowly from the ug into the dry ingredients. When you have a rough dough, tip it out onto a lightly oured work surface and bring the dough together by hand.
Next, roll out your dough into a round 2cm high slab, slide this onto a tray, cover with cling film and chill in the fridge for 15- 20 minutes. Remove the scone dough from the fridge and using a knife cut out your scones into fingers measuring 3 cm s uared by 8 cm long. Flour well before cutting out each one and press in a straight downward motion. Make sure all your scones are presented with the smoothest side facing up and wellspaced as they will expand as they cook. Next carefully brush the top of each scone with egg yolk. Bake for 10-12 minutes until golden brown and risen. Remove from the oven and allow to cool to room temperature.
To assemble the dish, warm the scones and the toffee apples for 2-3 minutes in the oven.
Remove from the oven and make sure all your apples are round side up (this is what would have been the skin side). Spread a thick layer of the Bramley puree on each scone finger.
Follow this by cutting the apples into uarters and arranging 3 pieces of apple on top, glazing with a spoonful of the caramel from the pan. Season the top of the apples with a little pinch of Cornish sea salt and the picked thyme leaves. Top each one with a teaspoon of Rodda s Cornish clotted cream, then season each dollop of cream with a pinch of ground cinnamon.
Serve alongside your favourite mature cheddar allowing your guests to cut off a piece of cheese and eat with the toffee apple scone. The contrast of sweet and savoury is amazing.
Cornish gin and beetroot-cured chalk stream trout, dill and lemon, Rodda’s Cornish clotted cream, served on a chive and spring onion scone
SERVES 4
Preparation time: 1 hour
Cooking time: 20 minutes (plus 12 hours curing time)
INGREDIENTS:
For the trout (cure the trout the day before):
100g beetroot (raw or cooked)
1 tsp coriander seeds
1 tsp fennel seeds
1 tsp black peppercorns
100g Cornish sea salt
60g unrefined caster sugar
50ml Paul Ainsworth s Daring Gin (or similar)
1 lemon, zest only
1 small bunch of dill (reserve 1 sprig for garnishing the dish)
1 side of chalk stream trout, skin removed
50ml extra virgin olive oil (plus extra for brushing and dressing the scones)
For the chive scones:
170g Greek yogurt
60g buttermilk
4 egg yolks (retaining 1 tbsp for glazing)
20g malt extract
250g self-raising our (plus extra for dusting)
85g spelt our (or Emmer or r r)
1 tsp table salt
11 2 tsp baking powder
50g grated Grana Padano or Parmesan
30g grated cheddar
75g unsalted butter, diced
1 bunch of chives, finely chopped
1 bunch of spring onions, finely chopped (reserve the best one for garnishing the dish)
To finish:
1 lemon, zest only
1 tsp cayenne pepper
A few sprigs of dill
227g of Rodda s Cornish clotted cream
METHOD
Cure the trout (this can be done up to 5 days in advance). Peel the beetroot and place it in a food processor. Next place a frying pan over medium heat and toast the coriander, fennel and whole black peppercorns until fragrant and aromatic - this will only take a few minutes. Add the toasted spices to the processor with the beetroot, Cornish sea salt, sugar, gin, lemon zest and dill then blend until you get a smooth paste.
Then place your trout in a suitably sized dish and rub this paste all over the trout and cover with cling film. Place in the fridge to cure for 12 hours.
Remove the cured trout from the fridge and rinse in cold water to remove the excess cure, herbs and spices. Pat dry with clean kitchen paper, cover with cling film and reserve in the fridge until you need it.
For the chive scones, preheat your oven to 180 C. Combine the Greek yoghurt, buttermilk, egg yolks and malt extract together in a ug, mix well and store in the fridge.
Combine the two ours, salt, baking powder and two cheeses in the bowl of a stand mixer fitted with a paddle. Add the butter and mix on a slow speed for 10-15 minutes until you achieve a breadcrumb-like texture. Alternatively, mixing by hand will be ust as effective.
Add the chopped chives and spring onions to the buttermilk mix, and with the mixer on low speed pour the entire contents of the ug into the dry ingredients. Stop the machine when you have a rough dough then tip out onto a lightly oured work surface and bring the dough together by hand. Next roll out your dough into a round 2 cm high slab. Slide your
dough onto a tray, cover with cling film and chill in the fridge for 15- 20 minutes.
Remove the scone dough from the fridge and using a 50mm round cutter cut out your scones. Flour well before cutting out each one and press the cutter in a straight downward motion. Tap out firmly and confidently onto the baking sheet. Make sure all your scones are presented with the smoothest side facing up and are well spaced.
Next, carefully brush the top of each scone with the remaining egg yolk. Bake in your preheated oven for 12-14 minutes until golden brown and risen. Remove from the oven and allow to cool to room temperature.
To assemble the dish, pre-heat your grill on its highest setting.
Slice the trout into 1 2cm slices with a sharp knife. Brush each slice with some extra virgin olive oil and season with lemon zest. Cut each scone in half and toast under the pre-heated grill. Arrange 4–5 slices of sliced trout on each toasted scone half, then add a teaspoonful of Rodda s Cornish clotted cream on top. Season the clotted cream with a small pinch of cayenne pepper. Slice the reserved spring onion very thinly at a 45-degree angle and separate the rings. Arrange a few rings on each dish, then finish each topped scone with a few sprigs of dill and a drizzle of extra virgin olive oil.
Slow-cooked BBQ beef short-rib, horseradish, Rodda’s Cornish clotted cream and watercress, served on a caramelised onion scone with roast beef gravy
SERVES 4
Preparation time:
1 hour
Cooking time: 3 hours
INGREDIENTS:
For the short rib (this can be done the day before and warmed to serve):
1 whole boneless short rib of beef
Salt and freshly ground black pepper
1 tbsp vegetable oil
1 large carrot
2 sticks of celery
1 large Spanish onion
1 tbsp tomato puree
1 bottle of red wine
1 litre beef stock
METHOD
1 small bunch of thyme (1 sprig r r i i )
1 bay leaf
For the caramelised onions:
6 large Spanish onions
Pinch of salt
100g salted butter
50ml sherry vinegar
Freshly ground black pepper
For the scones:
170g Greek yogurt
60g buttermilk
4 egg yolks (retaining 1 tbsp for glazing)
20g malt extract
250g self-raising our (plus extra for dusting)
85g Spelt Flour (or Emmer or r r)
Preheat your oven to 160 C. To braise the short rib, heat a large heavy-based, ovenproof pan over medium high heat. Season the short rib generously with salt and freshly ground pepper then carefully add the vegetable oil to the pan until gently smoking. Caramelise the beef all over on all sides, carefully turning with tongs. While the beef is caramelising, prepare the carrot, celery and onion by peeling and chopping into thumb-sized pieces. When the beef is evenly coloured all over, remove from the pan onto a tray. Carefully tip the used oil out of the pan and wipe the pan clean with some kitchen paper. Return the pan to the heat and add a teaspoon of vegetable oil. Add the vegetables to the pan and colour deeply without burning. When the vegetables are beautifully roasted add the tomato puree, immediately followed by the red wine. Reduce the wine by half then add the beef stock.
1 tsp table salt
11 2 tsp baking powder
50g Grana Padano or Parmesan, grated
30g grated cheddar
75g unsalted butter, diced
100g caramelised onions
For the Marmite butter:
100g unsalted butter, at room temperature
1 tsp Marmite
To finish:
1 sprig thyme
1 small bunch watercress
227g tub of Rodda s Cornish clotted cream
1 thumb-sized piece fresh horseradish, peeled
Carefully return the short rib to the pan followed by the thyme and bay leaf. The beef should be covered by stock. If you need to, top up the pan with boiling water. Cover the pan with a lid or some tin foil and place in the oven.
Braise for 2-3 hours until the beef is ust tender. Test this with a metal skewer or small knife it should be tender but not falling apart. Remove the beef from the pan using a slotted spoon or sturdy spatula, cool to room temperature then refrigerate to set for easier portioning. Pass the braising li uid through a sieve into a clean saucepan then place over a medium heat and reduce until you have an intense sauce consistency. When the beef is chilled and firm, using a serrated knife carve the beef into 1.5 cm thick slices.
To make the caramelised onions, peel the onions and slice them in half. Thinly slice the onions and transfer them to a large bowl. Season well
with salt and mix well to separate all the slices. Add the butter to a large heavy-based pan, and heat on medium heat until bubbling but without colour at this stage.
Add all the onions to the pan, cover with a lid and cook for 15 minutes with the lid on without browning. The sliced onions will become soft and sweet and have released all their moisture. Remove the lid and continue cooking, stirring regularly until the onions are deeply caramelised. When you have achieved a uniform, deep colour, you will have some lovely sticky caramelised onions stuck on the bottom of the pan, don t worry, this is exactly what you re looking for. At this stage add the vinegar and scrape the bottom of the pan. Remove the onions from the pan and separate out 100g for the scones. The remaining onions can be reheated in a small pan or microwave to assemble the dish later.
For the caramelised onion scones, combine the Greek yoghurt, buttermilk, egg yoks and malt in a ug. Mix well and store in the refrigerator. Combine the two ours, salt, baking powder and cheeses in the bowl of a stand mixer fitted with a paddle. Add the butter and mix on slow speed for 10-15 minutes until you achieve a breadcrumb-like texture. Alternatively, mixing by hand will be ust as effective. Add the caramelised onions to the yoghurt mix and mix well, then pour slowly from the ug into the dry ingredients. When you have a rough dough tip out onto a lightly oured work surface and bring the dough together by hand.
Next roll out your dough into a round 3cm high slab, slide this onto a tray, cover with cling film and chill in the fridge for 15- 20 minutes. Remove the scone dough from the fridge and using 60mm round cutter cut out your scones. Flour well before cutting out each one by pressing in a straight downward motion. Tap out firmly and confidently onto the baking sheet.
Make sure all your scones are presented with the smoothest side facing up and are wellspaced as they will expand to about twice their original volume as they cook. Next carefully brush the top of each scone with egg yolk. Bake for 13-14 minutes until golden brown and risen. Remove from the oven and allow to cool to room temperature. To make the Marmite butter, whisk together the unsalted butter and marmite and keep at room temperature.
To assemble the dish, preheat your grill to its highest setting. First warm the sliced beef in the sauce using a saucepan over medium heat. Slice the scones in half and grill until beautifully toasted. Brush generously with the marmite butter all over. Arrange three slices of beef on top of each scone half. Add a few leaves of thyme and some small sprigs of watercress on each.
Top each beef scone with a teaspoon of Rodda s Cornish clotted cream and generously grate over the horseradish to your liking. For the final touch spoon over some of the remaining beef sauce.
paul-ainsworth.co.uk
Master TIME of
When it comes to watches, none carries the cachet of a Patek Philippe.
Oliver Berry sits down in Truro with the company’s president, Thierry Stern, to talk about inspiration, engineering and why the old ways are still the best.
“I can still remember the day I realised I wanted to be a watchmaker,” recalls Thierry Stern, as he sips his coffee and casts his eye over a glass case filled with glittering wristwatches.
“I was six years old. In my dad s o ce near Lake Geneva, there were big drawers filled with pocket watches. I remember opening them all the time just because I loved looking at them. That’s where the passion started.”
Patek Philippe has been owned by the Stern family for nearly a century, having acquired it from its founders, Antoine Norbert de Patek and François Czapek, in 1932. Unlike many of their rivals, it remains a family concern:
Thierry is the fourth generation Stern to run the business, following his great grandfather, grandfather and father Philippe, who he succeeded in 2009.
Today, he’s in Cornwall as part of a whistlestop European tour of trusted retailers. The venue is Michael Spiers in Truro, the county’s oldest family-run jeweller, whose relationship with Patek – like most of their retailers –stretches back years. “In business, relationships are everything,” Thierry says. “In many ways, we all belong to one big family.”
Unusually for a man in charge of one of the world’s most prestigious brands, Thierry started on the shop oor.
After studying at watchmaking school, he apprenticed alongside Patek’s watchmakers, learning all the painstaking labour that goes into their watches –from machining the springs, hands, cogs
Thierry Stern
and wheels to engraving the dial and assembling the case. That grounding, he explains, enables him to push boundaries in engineering as well as in design.
“Every time a member of the family takes over, he must prove himself,” Thierry says. “A watchmaker has to evolve, to be creative, to push further – in accuracy, but also aesthetics. At Patek, we say that we have a tradition of innovation.”
His practical grounding also taught him about the vital importance of craftsmanship. In any other industry, he explains, the niche skills employed by Patek s team of craftspeople would have disappeared long ago in the drive for e ciency and cost-cutting. The most precious thing I have at Patek is the people. They’re the ones who make the company what it is. With shareholders, the thinking is more short term, but at Patek, that’s not how we work. Here, the past is the future.”
In many ways, a Patek Philippe watch is as much a work of art as of craft. Their watches showcase the skills of a bygone age, from enamelling and marquetry to chainsmithing and guilloché (a type of metal engraving), and the company owns more than 100 patents, including ones for its built-in winding mechanism, precision regulator, perpetual calendar and Gyromax balance.
“The aesthetic must be beautiful, of course, but it’s not just about looking nice,” Thierry says. “It’s about preserving the movement.
And I will never jeopardise that.” Creating a new model is a long and laborious process. Just 72,000 Patek watches are produced every year: the simplest ones take a minimum of 9 months to make, rising to 2 years or more for complex pieces such as the ‘Grand Complications’.
“Inspiration can come from unexpected places,” he says. “A vintage car, a beautiful house. Often when I m sleeping, that s where I have my best ideas. But really, my responsibility is to surprise. I hate to be told something is not possible! You know, let’s try, let’s make a prototype. Maybe we will find a way, or maybe not. That s how we keep growing.”
Prices start around £14,000, but can easily climb into six figures. The most expensive wristwatch sold at auction was a Patek – a Grandmaster Chime 6300A-010, which fetched 31,000,000 CHF ($31.2 million) in 2019. Allegedly, it required more than 100,000 hours to make.
For Thierry, the real joy of running Patek Philippe, he says, is the freedom to indulge his creative whims, while also making his own contribution to the company’s illustrious legacy. “Every day, we create something that will last,” he says. “Our watches will still be working in 100, 200, even 300 years’ time. That’s the privilege of working here. And for me, it’s the pleasure, too.”
Spoken like a true artisan. michaelspiers.co.uk
Pulling OPEN SPACE out of meaning
WORDS BY MARTIN HOLMAN
Jack ite eld nds eauty in desolation and destruction. rt rings you out of everyt ing, e says. I’m not on any andwagon t is is my one.
Place is important to Jack hite eld. e grew u in t ves and, as both a native and an artist, he feels a strong connection with the culture and terrain of est enwith. hat connection is artly innate due to his mother s family s roots in ennor, and artly hysical. ntroduced to sur ng as a three year old by a father stee ed in the s ort who had come to ornwall in the 1 s from outh frica to nd a base for his astime, from the age of eight until his late 2 s hite eld was in the water every day, ee ing u his tness. eaving school at 1 , he followed the surf life for a decade, travelling to a an, ndonesia, the aribbean, orth merica, uro e and the editerranean.
e was also drawn into the burgeoning industry around sur ng. ith its branded fashion labels, it idealised the lifestyle in a media world of advertising and maga ine features. hite eld, however, was tem eramentally resistant to mar eting s demands and ornwall remained the lace he returned to from varied global destinations. ow increasingly recognised as a shar and creative resence in the
south west s art scene, his connection with the region has become more intense, fuelling an authenticity of sub ect and vision e ressed in lm, hotogra hy and drawing with astonishing visual strength.
he lin between lace and his artwor is not direct. e does not de ict s eci c locations in order to celebrate their a earance. hat a roach belongs to a romantic tradition with which hite eld does not identify. nstead, he focuses on the county he nows as a gateway to broader erce tions. ust li e the blac and white, analogue materiality he wor s with, his vision is wra ed in star grittiness untrammelled by established ideas of beauty. s a result, the setting for his diverse out ut is not distinguished visually by tourist havens and broad vistas. nstead, his wor is built u on the ro erties he ri es in the ornish landsca e time, culture, nature and a history of toil.
bove all, ornwall features in his wor because that is where ac hite eld has chosen to be. recent body of wor titled , com leted in 2 21, is the embodiment of that convergence of
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place and being from which his imagery instinctively springs. Like much of what he makes, the project arose by chance rather than meticulous planning. Walking at Trewey ill and ennor through elds of gorse charred y re, he noticed that his jeans and hands were covered in charcoal marks The fa ric looked scari ed y streaks and smudges that crisscrossed in trails of black and grey as if the devastated grassland were writing itself onto his body. He was struck by how rhythms of movement and the gentle contours of the terrain were being transcribed by the needle-like leaves. Kindled into graphic instruments, their refle ive scoring connected him physically and conceptually with the land he lived in.
Aware he was part of the drawing that was taking place, he sought a method of bringing the e perience out of the location as more than a memory. He had his trousers, of course, which became one element in a project that can truly be described as immersive. Another was the act of drawing, art’s fundamental technique of inscribing what we see o hite eld e tended the e perience into draping sheets of paper over the scorched branches. The charred embers imprinted that motion onto the surface when pressed into a bush by hand or currents of air. Photography then bound these activities into a third element, recording the continuous unfolding of the phenomenon, adding conte t with documentary shots, such as of remen patrolling the smouldering pasture.
hite eld cannot pinpoint e actly when photography entered his life but he admits that with sur ng, it ecame an o session
If I had £10 in my pocket, it went towards art uring his rst foreign trips, he was given an old SLR camera which he used to record the places he visited and his activities when travelling The rst image that, he says, “I can still look at and appreciate,” was made in , a clean, si y seven inch image of a banal landscape in California.” ut hite eld, who has no formal art education, wondered if he was the only person to nd such everyday, uncaptivating reality interesting.
Then he recognised an a nity in his outlook with a group of American photographers active in the mid 1970s, which became known as New Topographics. It included ewis alt , whose images hite eld especially admires. They are notably unemotional, a factual take on the landscape. Turned away from depicting spectacular views of nature, they settle on stark scenes of modern living’s impact on the land and suburban sprawl. With each theme he chose, Baltz worked in series and usually published his photography in books.
By then, the role of imagery – and how a place or person presents to the public – had already le an impression on hite eld Of course, there was the constant marketdriven lenswork and branding of the surf sodality, from which he naturally recoiled. r an gra ti and social su cultures had more effect as he toured atent, too, were e amples from his ackground, such as his grandmother, Betty Nankervis. An accomplished printmaker with work in public collections, her monochrome etchings of local sites and traditions hung in the house as he grew up.
MIDDLE
TOP le and right from , Risograph on paper
ABOVE le and T right from , isograph on paper
Jack hite eld hotography by Josh Barrow
That awareness could not have emerged in a more perceptive mind. Nonetheless, he asked himself whether the photography he egan making could only e ist in merica Discovering the legacy of Land Art, the international trend among artists from the 1960s onwards, persuaded him that actual countryside was a subject for serious art that was primarily visual. These artists had renounced the gallery to sculpt the land into earthworks. These they documented in photographs and maps to convey their grandeur, but in a cold and detached way. With his lineage and knowledge, hite eld had a strong claim on the sites and perceptions of the county, which he declared to be “ my zone”.
concrete stalls. RUBBLE assumes an almost sociological angle by pondering the trades people follow. “I am doing this to make art, hite eld remem ers thinking o why do people move stones? I come from a working-class background and the nature of work – both conceptual and physical – is a theme. The land in Cornwall is as much a out mining, shing and manual la our as the monuments, light and scenery.”
“I want to challenge what it s like to e from here, hite eld says. The prevailing image acclaims the coastline, standing stones and the sparkling legacy of its modernist artists hite eld s engagement with local subject matter is, by comparison, hardier, polemical and even tense e considers as his rst piece of work to e hi it hallmarks of how he apprehends west Cornwall. The photographs constitute a kind of a journal pursuing several strands of thought.
The project consists of a gallery of photographs taken on his iPhone during the refurbishment of his studio, an abandoned barn that had stabled horses. Foremost is the labour of clearing the interior of redundant
All those features converge in the images, sometimes with an ironic humour. As when stones, hammers and a trolley are set to stand upright unaided against the “landscape” of the stone lled arn, like anti-monuments of the working man or futuristic menhirs. RUBBLE also carves out an imaginative space inside the reality of the barn’s conversion – a place of agency where things happen and changes occur.
hite eld s most recent collection, , uilds upon that possibility. Composed again of images that potentially relate a story in photographs, the actions they follow are activated by the artist himself. The title is Cornish for fuel gatherer hite eld portrays himself handling boulders of sea coal, carrying lumps chest high before rolling, spinning, pushing and rubbing the stones on large sheets of strong, cotton paper laid on the floor in emphatic acts of making their mark
from , Risograph on paper
m lematic of a different la our are the overalls he wears. While he is shown in the energetic process of making abstract drawings with the raw material, his demeanour conceivably enacts a truer meaning of the title. Sea coal was netted unintentionally y shermen who carried it ashore for distribution as free fuel t the same time, the e ertion displayed by the artist as he grapples and hauls seems consciously symbolic. Current controversies surround coal’s use whereas once the industry shaped the communities and topography of Cornwall.
Performance is part of hite eld s art and informs his choice of content. For him, the body is a point of contact between the work, the viewer and the wider world. “It is easy to hide behind composed photographs of landscapes. I want my work to be more random and spontaneous and to reveal myself more, my feelings about this place, its past and present.”
, meditates on how hair whorls naturally from a ed point, dictating a direction that cannot be opposed. The pattern on a scalp is found on mightier structures, like the planet itself, which is also depicted. An image of winds spiralling mighty natural forces sits ne t to the elevated view of a vulnerable human head, u taposing two di yingly diverse spaces within a single frame.
Thus, he moves beyond reportage to touch deeper themes. His hands enter the picture, participating in what the camera sees; in his lms, a glimpse of shoe or trouser slips into frame; and his jeans become drawings in FURZE. Sometimes he transforms his features by reversing the image into negative in a manner that heightens the drama, like a scene from science ction, a genre he loves One of his most poetic works, TOPOLOGY
Another thread present throughout his practice is the sheer materiality of images. He is wedded to the weight of things. In keeping with his admiration for the spare aesthetic of the pre-digital New Topographics, he likes to use a medium format, bellows camera. Images are developed in a traditional dark room. His work is usually encountered in print, in books that he produces with pages that are held, handled and turned e has not o en taken part in conventional e hi itions, although his recent large-format drawings with sea coal were featured last year at the Martin Parr Foundation in Bristol. Fittingly they were displayed alongside an archive chronicling the miners’ strike of 1984-5.
To arrive at the tactile booklet format similar to chapbooks, the popular medium for ephemeral street literature, hite eld s photographs undergo several stages of printing. He oversees every phase, from placing images in a sequence, with some
ABOVE T , a print, silver gelatin print, isograph and pencil on paper, cm
TOP Dragged sea coal over paper, from
ABOVE C , two colour silkscreen print and ink et on paper, cm
facing blank pages, to balancing tones before rasterising prints into scans duplicated on a Risograph machine. This simple technology transfers soy ink to uncoated newsprint (and then often onto the reader s fingertips). Pages are folded and bound with two staples. “I like the process because it doesn t look like art. It attens space and removes any variables of internal depth. It isn t precious the result resembles a survey, using maps and graphs. That feels like me it s the feel I m seeking. The method is inexpensive and undeniably physical in its effects published in limited editions, his books instantly become collectable.
When colours appear in his printed work, as in his A2-sized, screenprinted composites of photographs, drawings and text he calls proposals , the look is utilitarian, even clumsy, as if the sheet was prepared as a survey or a poster for a protest group. Sub ects are speculative Mostly they are artworks about the use of land that don t have to be realised, he says, citing his chimerical Studies for a Sapphire Pillbox (2022) that visualise the wartime outpost at Land s End into a frame for the horizon, lit by the setting sun into a blue beacon of hope.
When Whitefield read that red dye was being added to lagoons to deter swimming during lockdown, he ran with that idea. He imagined how an environmental disaster would be mapped if toxic substances were deployed - a premonition, perhaps, of Britain s sewage-strewn rivers and beaches. Whether gathering images into booklets or collaging them into a single-sheet proposal, the comparison with a storyboard is inescapable. Whitefield s narratives are neither straightforward nor predictable.
Still pursuing his first ambition to be a film-maker, those properties are present in his films. A pro ect is invariably in development in the background as he works on photography.
His subjects prize his independent angle on making documentaries. Several short films promote English singer-songwriter Sam Fender s recordings and in 2022 ans released Arnow, Whitefield s intimate and well-rounded portrait of Cornish surfer Tom Lowe. Inspired by 1970s American documentarist Les Blank, his almost journalistic capability exudes visual texture and emotional sensibility with a potency rare for the genre.
Now is the moment to know about Whitefield. As he pulls away from the in uences that have helped shape him, the acuity of this artist s independent path becomes sharper. Seemingly off-the-cuff yet poetically constructed, his work honours cultural boundaries, filtering a network of sensations through the mind and spirit of the onlooker. Those impressions connect us to his surroundings, to their present and past, and simultaneously to a world of visualisation with no regional limits. Reproduced by mechanical means into a hyper-state of their own reality, Whitefield s imagery portrays a human relationship with the land imbued with an abstract intensity formed out of the matter of his own being.
Eventide
WORDS BY KATE WILD
Despite, or possibly because of, the high levels of deprivation and poverty in the county, Cornwall has a strong heritage of volunteering. Estimated numbers of volunteers vary between 25% and 32% of the local population; whatever, it is undisputed that Cornwall is amongst the top volunteering counties in the UK. And the need for our volunteering help has never been more urgent. With over a quarter of the Cornish population earning under the living wage, Cornwall remains one of the 10 poorest regions in Europe. Yet average cost of heating homes in the county is around 20% higher than the rest of the country and demands on our foodbanks are increasing at a frightening rate.
of financial need or physical or family challenges. Since 2005 over £450k has been handed out to 380 plus recipients.
It is crucial that we recognise our dedicated and quietly hard-working volunteers and I urge you all to consider local groups to nominate for a King’s Award for Voluntary Service. Equivalent to an MBE, this is awarded for life and has been shining a light on the work of voluntary groups for many years. I am privileged to co-chair the nomination and local assessment process and see at first hand the game-changing work being carried out by volunteers across Cornwall.
The Cornwall Christmas Fair, is a prime example of best-in-class volunteering. For two days every November (this year 27th to 28th November), The Eden Project plays twinkly host to a glorious array of Christmas gifts, food, drink, home accessories, fashion, jewellery, and toys Organised by a team of volunteers and supported by a generous spread of sponsors, all funds raised go directly to support Cornwall’s struggling communities through the Cornwall Community Foundation. Another project I am involved with is Young & Talented Cornwall, The Lord Lieutenant’s Fund. Again, driven by a team of volunteers, the fund aims to ensure that talented young people from Cornwall are given the opportunity to succeed, regardless
Kate Wild
As a proud B Corp, a strong sense of purpose sits at the heart of Wild Card. Pro bono consultancy is provided to the Christmas Fair and Young & Talented Cornwall and our team are given purpose days to support foodbanks, beach cleans and provide mentoring support. At a national level we support Business Declares, a network of businesses taking purposeful action to reach carbon neutrality. Thank you, Cornwall!
Kate Wild is the founder of Wild Card, i i i in Truro, Bristol and London. She is a D i r r i ri of Cornwall.
wildcard.co.uk youngandtalentedcornwall.org kavs.dcms.gov.uk/make-a-nomination/
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