DRIFT Volume 32

The turn of THE TIDE

In a world forever in motion, the only thing to do is lie back and drift along with it

Volume No32 £10.00

rift dri noun

1. the act of driving something along . t e o or t e elo ity of t e rrent of a ri er or o ean stream

verb

. to be ome dri en or arried alon , as by a rrent of ater, ind, or air . to mo e or oat smoot ly and effortlessly

THE PINNACLE OF LUXURY LIFESTYLE IN CORNWALL

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Editor Hannah Tapping hannah.tapping@enginehousemedia.co.uk

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Managing Director i ard oy richard.mcevoy@enginehousemedia.co.uk

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Finance & HR Manager

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Creative Designers

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PROUD TO BE PART OF

r is published by:

Engine House Media LTD

Holbrook, The Moors, Porthleven, Corn all

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ISSN 2632-9891

© All rights reserved. Material may not be re-produced without the permission of Engine House Media Ltd. While r will take every care to help readers with reports on properties and features, neither Engine House Media Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Engine House Media Ltd strongly advises viewing any property prior to p r asin or onsiderations o er any finan ial de isions. n ine House Media reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. Engine House Media Ltd cannot take responsibility for loss or damage of supplied materials. The opinions expressed or advice given in the publication are the views of the individual authors and do not necessarily represent the views or policies of

Engine House Media Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of this magazine. Engine House Media Ltd is a multi-platform media business with a passion for everything Cornish. Visit www.enginehousemedia. o. to find o t more. r mission is to reate C C media opport nities marryin to et er ons mers it t e fab lo s b sinesses a ross Corn all. r p blis in and marketing teams are specialists in creating print and online communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and ma a ine e perien e e de elop effe ti e omm ni ations that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.

The beautifully intricate ‘Brea Hill from St George’s Well’ by artist Sarah Adams, feat red from pa e .

Foreword

Corn all is all b t an island its miles of oast is t e lon est in t e orld, it t e i er amar closing the loop south to north. It’s little wonder t en, t at many of t e y s narrati es a e t eir toes in the water; their stories shaped by the sea and inspiration dra n from its li ops, bays and o ean dept s. i er, a ael dmans finds sola e and beauty beneath the waves, capturing Cornwall’s marine life in lorio s te ni olo r , ele atin the humblest of sea creatures to become precious portraits. From watery depths to endless oceans, e a n raders ta es an et i al approa to imports from around the world. Importing goods under sail, the company’s ethos is to lessen the impact of global shipping by transporting goods from abroad to Cornwall on one of three tall ships, all the while treadin li tly on t e o ean. ail ape arine ,

is another example of a company born from a love of t e o ean. ned by t ree sailors, t ey are nited by a passion for the sea and have built a business that serves discerning boat owners along the entirety of the south coast of the UK. Marine photographer Mike a ey , is s ally fo nd at t e eart of a a e, framing the swell from unique angles. Swapping his camera for a paddle, this year saw him and a group of fellow sea-lovers build their own stand-up paddle boards and undertake a unique and inspiring journey that saw them paddle the coast of Cornwall for arity. Capt rin t e oast from a different an le, ara dams sea a e paintin s afford a view of the coast that is rarely seen. Whatever the relationship with the ocean, all are united by its ast ma esty ile offerin a ne perspe ti e and experience of the water that surrounds us.

Our contributors

Join our team

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Visit drift-cornwall.co.uk to read more about our writers

We invite you to continue your lifestyle voyage online. nd ns r n s or es and n o er more l r on en on ns a ram dr ornwall Jo n o r e l s e e o rnal omm n a dr ornwall o o re e e re es re ews and ns der nowled e of some of ornwall s mos lo ed l r des na ons

Martin Holman

Rosie Cattrell

Hannah Tapping

Rebecca Hawkey

Lucy Studley

Mercedes Smith

77 THE LANGUAGE OF A HOME

A vision from Woodford Architecture

87 CHARTING THE FUTURE

With Castle Air’s Ross Bunyard

94 ARTIST OF THE FLOATING STOKE

A glimpse into the world of Andy Harper

107 INTO THE UNKOWN

Mike Lacey’s recount of a coastal adventure

115 RISING FROM THE WAVES

Sarah Adams’ view of Cornish sea caves

122 EVENTIDE

A final word from James Webb

NEW DEPTHSCapturing

WORDS BY HANNAH TAPPING

A deep dive into clear Cornish waters reveals ocean inhabitants in glorious technicolour.

Some of t e most ma i al finds ome en yo least e pe t t em. is as t e ase en a so ial foray led me to a ael dmans ima es. ima ined t ey ad been ta en in tropi al limes s as t eir ibran y and as more t an a little s rprised to dis o er t at t ey ere apt red en di in in Corn all. a ael is a sin le parent it t ree yo n ildren, di in as m as s e an ile t ey are at s ool. find t e o ean e tremely t erape ti and ealin . en di e, all my ares and orries fade a ay for a ile and feel free. i in feels li e yin , bein ei tless nder ater is somet in ill ne er not lo e, says a ael.

alifyin as an pen ater i er t o years a o, a ael as pro ressed to

be omin a i e aster, it t e plan to o on and st dy as an instr tor ant ot ers to e perien e t e p re oy feel en di in , and m opin my ildren ill arry on my di in obby en t ey et older and ro to lo e t e o ean as m as do. y intention as to tra el o erseas and di e, b t sadly Co id stopped all t at. ile e still not mana ed to et a ay, Corn all as some st nnin di e spots, so m ery appy ere. y fa o rite pla e to di e is ort erris it s simply ama in . also lo e anpool, near almo t , for its easy and rela in di in . eals are my fa o rite animals to apt re. ey are ma i al, ma esti and at t e same time massi e espite t eir si e t o , t ey mo e effortlessly and are e tremely rio s.

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Devotional PAINTING

Hebridean artist Rebecca Styles brings her passion for grand landscapes to Cornwall.

This summer, the spectacular setting of Cape Cornwall hosts one of the UK’s up and coming new artists, as landscape painter Rebecca Styles takes up an art residency at Brisons Veor. The collection she is creating will be exhibited at Whitewater Contemporary this September in a collaboration that brings Rebecca from her home in the Outer Hebrides to the heart of Cornwall’s art scene. Rebecca’s practice has, until now, been concentrated on the dramatic landscape of the Isle of Lewis at the western edge of Scotland, where she lives and works. Over the last two years, this stunning location has inspired a series of collections which have been exhibited in rural locations across the Hebrides – in very remote locations by

design, so that her paintings are exhibited within their context. Interestingly, this counterintuitive but clever choice of show locations has added greatly to collectors’ interest in the work, and has attracted buyers from as far away as London and even America, who want to experience not just the artwork, but the place that inspired it.

ebe a s first solo show, Bigger Than Us, was exhibited in spring of 2022 at Grinneabhat Gallery in the tiny Hebridean village of North Bragar. This was followed in the summer by Alchemy, a sitespe ifi ollaboration bet een ebe a and Scottish poet Heather Mackay Young in the semi-derelict setting of Baile na Cille Church, Uig on the Isle of Lewis. Her most recent project, Finding Lewis, was on show at Talla

Rebecca Styles

Na Mara Arts Centre on the wild Atlantic coast of the Isle of Harris last winter. Now, this summer residency at the opposite end of t e ritis sles offers ebe a t e an e to make work in response to the equally dramatic landscape of west Cornwall, and present a show that will surely fascinate collectors of Cornish landscape art. “In Scotland, my studio stands beside the Atlantic at the furthest edge of Europe,” says Rebecca. “As an artist I have an interest in the way the coast and the tempestuous weather systems of the Outer Hebrides have shaped and carved the land here. As islanders, we are servants to the environment, always in battle with, and in awe of, the power of the elements. My passion for making art comes from observing t is onstant s i and shaping of the landscape, so the opportunity to make work at Cape Cornwall – to consider the formation of its coast, its colours and its topography, and the way the south-westerly eat er effe ts t e lands ape t ere, ill really extend my ongoing body of work.” As an exclusively project-based painter, an artist who pursues international residencies and even relocates her home and studio every few years, Rebecca is always looking to engage with new places and themes. “My commitment to the residency at Brisons Veor

stems from my love of coastal investigation,” she says, “so during my time at the southest tip of Corn all ill be re e tin on my impressions of the land and seascape there, in contrast to that of the Hebridean climate.” Rebecca was born and raised in West Yorkshire but has spent much of her life moving locations in search of unique landscapes. She lived and painted in both Devon and Cornwall before exploring the beauty of Derbyshire and other counties in the midlands and the north on her narrowboat, Puck. In 2020 she took the astonishing step of buying land on the sparsely populated Isle of Lewis and building a house and studio. “I spent my childhood holidays on the Isle of Arran,” she explains, “and that had a e in en e on me in terms of my appreciation of the outdoors and the world’s natural wonders. I had always hoped to live somewhere that could only be reached by ferry,” she adds, “where there is only nature, peace and isolation.” On Lewis, she was at last able to make paintings on a scale appropriate to her subject: much of her or is lar e, o er a metre s are, re e tin t e is al po er and infinite bea ty of the landscapes she paints. “Moving to the Hebrides was life changing,” she says. “This wilderness makes you assess everything

‘Cirrus’ – oil on canvas

The artist working in Baile na Cille Church, Uig, Isle of Lewis

Artwork made on site at the Alchemy exhibition at Baile na Cille Church, Uig, Isle of Lewis

you thought you knew about yourself. Here everyone is small, everyone is vulnerable, and so begins the worship of the landscape that surrounds you on a grand scale. I paint now with reverence, like a prayer or an in antation meant as an offerin or act of devotion. I want my paintings to be spaces where others can free themselves, even just for a moment. Our emotions are so easily blocked, we forget or refuse to listen, or to see, or to react to the beautiful, brute reality of nature anymore.” She describes her collections as “immersive, experiencebased, honest accounts of my emotional reactions to places and situations,” painted with an emphasis on creating landscape with landscape – using foraged earth pigments, grit, charcoal and other found materials that she mixes with her oil paints. Accordingly, she is a recent recipient of the Visual Artist and Cra a ers ard, and a Creati e otland Artist Bursary for her work involving local raw pigments and traditional paint making. Rebecca is constantly searching for new minerals and natural colours to use in her work, both in her immediate environment and from landscapes around the world. “Right now, for this residency project, I am waiting for a special delivery of a Vivianite pigments from Australia,” she says of a phosphate mineral found only in particular eolo i al en ironments, named a er o n

enry i ian, t e first to dis o er t e mineral in Cornwall in the 19th century,. “It is our only known natural blue-ochre earth colour.”

This material commitment, as well as her creative commitment to painting, is essential to Rebecca, and has become a way to truly engage with the landscape and the act of painting itself. “I have always found paint to be an emotional medium,” says Rebecca. “When I am working, I get lost in all those wonderful layers of colour. It is that luscious mix of earth and oil that I enjoy, the alchemy of it, knowing that pigments – which are simply coloured earth – can speak to us over thousands of years through the medium of art. That’s special. I love that I can take a rock from the ground and pound it into a pigment, into an oil paint that then lets me express my awe and appreciation for spectacular landscapes. That makes the act of painting all the more important to me.”

Rebecca’s Brisons Veor collection will be on show from 26th August to 27th September at Whitewater Contemporary, Polzeath, PL27 6SR.

rebeccastyles.co.uk

whitewatercontemporary.co.uk

Zero COMPROMISE

WORDS BY LYDIA PALESCHI

New Dawn Traders works with sailing cargo vessels to import produce from across the Atlantic Ocean and along European coastlines with zero compromise on ethics. Inspired by people, projects and businesses that promote resilience in local food systems, they work with a network of ships, producers and allies to build new models for supply chains that put people and the planet first.

Ninety per cent of everything we consume travels by cargo ship. Coffee from Colombia, pineapples from Costa Rica, cacao beans (chocolate) from Ghana, and olive oil from Portugal – most of it travels thousands of miles before reaching our

homes and our cupboards. Goods considered luxury 50 years ago have become everyday staples. The choice we have has never been vaster. “But there is a price to pay for this,” says Alex Geldenhuys, founder of New Dawn Traders. “We pay through our health, through degradation to the environment and through unethical supply chains.”

Alex has been working for years to find a solution to these issues, exploring carbon-free transportation and providing fair prices for producers. Initially creating New Dawn Traders to see if it is possible to transport goods in an ethical and sustainable way, the company now functions as a brokerage, bringing together growers, customers and

An experimental business, trading in wild ideas and delicacies.

ship owners. Underpinned by a pre-order and collect model, risk is shared equally amongst its customers, who invest in the voyage as a whole. The outcome is that producers are paid a fair price for their goods, customers know exactly what they are buying and high-quality products are transported to UK shores with minimal environmental impact. However, it’s also about inspiring people to be curious about where their food comes from and understanding where their responsibility lies as consumers. Whilst Alex realises that responsibility isn’t on everyone’s shoulders equally, she believes that it is important for those with purchasing power to make good decisions: “The more we spend our money in ways that are ethically and environmentally benefi ial, t e more t ose oi es be ome available to other people. Food is the one place where if you spend your money, it goes to the right people.”

er t e past years, le as been findin small producers that wouldn’t normally have an opportunity to export because of their scale compared to mass-producers. However, because of their size, they can give their best care to the land and to their communities, therefore making incredible and ethical prod e t at is f ll of a o r. ere are plenty of incredible producers out there”, Alex tells me. “However, the real challenge comes when competing with all of the choices in the UK.” According to Alex, much of the food available

in supermarkets depends on economies of scale where producers are pushed down on pri e. ese finan ial sa in s are o en met with farmers not being paid enough, or with the land not being treated as well as it could be. In addition, there is a compromise on the quality of the produce, which is transported using fossil-fuel-intensive cargo ships. Alex believes that this distorts what the real cost of food is and that we have never been less connected to where food comes from. When I ask her what the solution is, she explains: “In an ethical utopia we’d probably be sourcing 90% of goods from our local biosphere. However, in reality there are thousands of solutions, including more sustainable ways to transport goods.”

A large part of New Dawn Traders’ business model involves cargo being shipped under sail, powered by the wind instead of fossil fuels. They currently work with three tall ships, which transport produce from the European coastlines and even as far as the Caribbean. The ships are crewed by highly skilled skippers, alongside trainee sailors and volunteers who join for the experience for certain legs of the journey. When I ask Alex at t e main benefits are to transportin goods under sail, she explains that, “it doesn’t just come down to fossil fuels. The global shipping industry has a much wider impact on the ocean, including sound pollution i affe ts sea mammals, ross poll tion

Pre-ordered goods are stowed for the journey

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of ecosystems through the movement of ballast water and large industrial harbours which impact not just the ocean, but also the people living near them.” However, whilst transporting goods by sail removes many of these issues, Alex explains that it doesn’t come without challenges of its own.

“When it works well, it works really well,” she tells me. “But, one of the main challenges is when a ship isn’t able to keep to a schedule. It creates a huge amount of administration and communication work reorganising all of the individual customers to change their plan.” Whilst weather patterns and seasons for shipping were once more consistent, climate change means “they are not quite as predictable any more,” she adds. Alex also explains t at t e s i in rrents and weather patterns are creating issues for suppliers, who have e perien ed ildfires, dro ts and e en snow in June in recent years. Despite these challenges, New Dawn Traders is successfully transporting tonnes of goods to UK shores each year and sharing what they’ve learnt with other companies looking to do the same. Amongst their most popular produce is olive oil, panela and their exquisite single-

ori in Colombian offee, i as been transported over 7,500 miles by the sailing cargo schooner De Gallant. New Dawn raders also s pply offee beans to lo al roasters alla Coffee, o ta e reat pride in high-quality, sustainably sourced produce.

When it comes to understanding whether transporting goods under sail is scalable, Alex reveals that whilst there is a real pressure to make change happen really quickly, the Government’s fossil fuel and shipping industry subsidies show that society is not ready for it yet. Nonetheless, businesses like New Dawn Traders are a fascinating example of what the future of trade could look like and are food for thought when it comes to understanding where goods come from. Whilst it is clear that issues with the food industry are incredibly complex, Alex explains that the main danger is “the feeling of inertia, where people feel like nothing they do will make an impact. It is important to remember that there are so many options and that how you choose to spend your money can make a differen e.

newdawntraders.com

A real EDUCATION

WORDS BY LUCY STUDLEY

Could wine education be the ultimate brain workout? Time to ditch the Sudoku and raise a glass instead…

No matter what stage of life you find yo rself at en readin t is, learnin a ne s ill is al ays a ood idea. spe ially en t at ne s ill pl n es yo nose first into t e intri in , m lti fa eted, and so iable orld of ine. e Corn all ine Centre promises st dents it a t irst for no led e a sensory o rney, an intelle t al or o t, and a life en an in learnin e perien e. rely not all t is from simply sippin a ay at ine and pontifi atin t s time to dis o er if t is story as any le s

e ine and pirit d ation r st as fo nded in to ser e t e ed ational needs of t e ine ind stry. oday, t e i ly re arded alifi ations i offers are a ailable in o er o ntries,

and are ta t in different lan a es t ro a net or of aref lly a redited o rse pro iders. ne of t ese pro iders is t e Corn all ine Centre a olle ti e of lo al ine professionals o a e aried areas of e pertise b t are nited by a lo e of t eir s b e t.

Corn all ine Centre is t e ed ational arm of ld C apel Cellars an a ard innin ine mer ant based in r ro i , in , be ame t e first ine mer ant to a ie e Corp a reditation. ed by amie on in and o isa it patri , ld C apel Cellars is a for ard loo in set p in at is an a e old b siness. e pair ta e a modern and refres in ly irre erent approa to ine ed ation in tandem it t eir mer antile b siness, embra in ne ideas and trends

ba ed p it en y lopaedi no led e of t e ine orld. ey are oined at Corn all ine Centre by t ree ot er respe ted and e perien ed ed ators lly en, t art o las, and te e ro n.

lly be ame a ommelier ile or in at amie li er s i een Corn all, oin on to in mbibe ommelier of t e ear and be ome a member of t e presti io s C ampa ne ademy. e s a proa ti e ampion of areer pro ression in t e ospitality ind stry, b t s e s best lo ed for er do n to eart , f n approa to impartin ine no led e.

t art as led ndreds if not t o sands of st dents of all a es t ro o rses o er t e years. e s an e pert in ondensin omple information into sip able n s and elpin is st dents penetrate t e orld of appellations, pr nin systems, and ma eration te ni es. ean ile, te e dra s on is re ent e perien e of bein a st dent imself e passed is d an ed in to ens re t e ontent of e ery o rse is ri t p to speed, and t e ey information is really sin in in. te e retired from is first areer in t e fire

ser i e, ere e as a respe ted trainer, before dis o erin a passion and aptit de for ine ed ation. ea in omes nat rally to im, and e says t e s b e t is not in to be sniffed at ine as a bit of a rep tation as an elitist s b e t, b t it really doesn t a e to be. bit of ine no led e ill i e yo a reat foot p t e areer ladder if yo re startin o t in ospitality, and for t e rest of s it s a brilliantly demystifyin e perien e, e ent ses. eople o embar on o rses ome o t feelin m more onfident en b yin or orderin ine. or et bein blindsided by t e orld of ine labels yo ll be able to loo beyond t e brandin and ma e s re yo re ettin reat al e it e ery p r ase.

ean ile, t art as seen lifelon friends ips formed aro nd t e tastin table. r o rses, deli ered at ld C apel Cellars and fab lo s ospitality en es aro nd Corn all s as ni tor inery, attra t a di erse ro d of ine lo ers, all of om are ea er to learn b t also not a erse to a in a ood time alon t e ay. t s a reat ay of meetin li e minded people and, by oinin o r net or of al mni, st dents o en find t emsel es in ited to tastin s and ot er e ents all in

the name of education, of course!” For Elly, it’s in the act of learning itself where the reatest benefits lie. earnin abo t ine touches on geography, geology, horticulture, istory, lt re, and ommer e. it o t moving from your comfy chair, your senses will transport you to a certain place at a ertain time. nderstandin o a ine is made and why it smells and tastes the way it does allows you to get under the skin of that particular place – what people like to eat, the local traditions, how the weather changes t ro o t t e seasons, at t e nati e ora is like, what it smells like when it rains… it’s like travel in a glass!”

o isa a rees earnin abo t and tal in about wine engages the senses and helps develop next-level language skills, as we all have fun describing aromas, colours and a o rs. t s a brilliant brain or o t

ine no led e is important for t e continued growth and development of t e ospitality ind stry in Corn all. s o isa e plains e importan e of o rses annot be nderstated. ey enable hospitality businesses to enhance their wine expertise, curate exceptional wine lists, and offer informed re ommendations to stomers. dditionally, indi id als o omplete o rses be ome al able assets to the industry, raising the overall quality of service and contributing to

the growth of Cornwall’s reputation as a linary destination.

ree le els of o rses are offered at Corn all ine Centre o erin most students’ needs, be they driven by academic interest or professional de elopment. eyond t is t ere is a iploma offered at si entres a ross t e i an ta e p to three years to achieve, but this is really the preserve of wine industry professionals; ad an in as far as an d an ed e el ill set yo p ni ely it a lifetime of sef l and f lfillin ine appre iation.

f yo re totally ne to t e s b e t o e er, start it e el . e el is ideal for anyone o en oys drin in ine and simply ants to learn a bit more about what’s in the glass o it s made, different rapes and ine producing countries, and the basics of food and ine pairin , e plains o isa.

f e el pi es yo r interest, t en yo ll be ea er to pro ress to e el . is is a deeper dive into the key grape varieties and the regions of each wine producing o ntry, s o in o ines differ and y, says o isa. o ll taste o er different wines during this course, and develop an appre iation for at ma es ine so ni e. ordin to o isa, e el is a bi step up and starts assuming all the content from e el is no n. f yo e ad a ap in

bet een t e t o, e ad ise a little s attin before startin t is, s e ints. detailed and intense o rse, e el is spread a ross a to ee period. e ma ority is ome learnin it t tored sessions d rin i st dents taste o er ines. ely re ardin and internationally re o nised alifi ation, says o isa, t is is ideal for t ose antin to pro ress t eir areer in ine or ospitality enerally, or it a en ine desire to learn all abo t t e s b e t.

t art belie es t at anyone o onsiders t emsel es a foodie s o ld dip t eir toe into learnin . ood and ine mat in isn t t e preser e of i elin starred resta rants and elaborate tastin men s, e says. or ent ries, ine as been made to omplement t e lo al food lt re in ario s parts of rope, and no t e same appens in inema in re ions all o er t e lobe. a in a ood nderstandin of o t e ri t style of ine en an es t e en oyment of o r fa o rite dis es an be a ame an er. e ontin es e o rses in l de ontent on n lis ines i st dents al ays find really interestin , and it s a ni e opport nity

to tal abo t rape arieties s essf lly ro n in t e and o t ey omplement t e lo al prod e Corn all is famo s for.

or o isa, one of t e bi bon ses of disseminatin ine no led e is promotin a more et i al approa to ons mption. t ld C apel Cellars, e n rt re relations ips it small prod ers and family o ned ineyards, and a e a bi fo s on or ani ines i en o ra e biodi ersity in ineyards aro nd t e orld. ome of t e inema ers e or it are traditionalists, eepin an ient lti ation met ods and te ni es ali e, and ot ers are yo n ma eri s ta in t eir re ion in fres , e itin dire tions. t for ea ine it s abo t at s in t e bottle and its intrinsi interest and al e, rat er t an le er mar etin . ese are t e ines e se in t e o rses, and by s arin o r onsidered oi es as a ine mer ant li e to t in t at e re elpin brilliant inema ers all o er t e orld rea an appre iati e ro d

cornwall.wine

TakingSHAPE

WORDS BY HANNAH TAPPING

It is rare that a Cornish company doesn’t have a backstory. It is similarly unusual if that backstory isn’t fuelled by a passionate set of skilled individuals who have come together to create something ni e. ail ape arine is no different. From small beginnings, the company now provides high-end RIB sales, servicing, maintenance and a unique launch-and-recovery service to discerning boat owners across the Duchy. Having cut my teeth in marine publishing, I’m keen to find o t o t e pat s of Alan Harris-Guerrero, Emelie Harris-Guerrero and Jimmy Hoddinott came to cross and their incentive to create Sail Shape Marine.

We begin with Alan, whose wide smile and enthusiasm for all things nautical is infectious: “Boating wise, I was velcroed to a dinghy mast from the age of about four! Portmellon, Mevagissey and St Austell bay were my sailing grounds as a boy.

My mother and father had a small yacht that we would sail to the Isles of Scilly, and as far as the Channel Islands and France; voyages that gave me my seafaring foundation. My father is a master mariner and the King’s Harbour Master at the Port of Gibraltar, so sailing really is in my blood.” Alan goes on to explain that at the age of 16, he applied for a job at the local sailmaker. “Mitchell Sails, I think a little reluctantly, gave me a two-year apprenticeship, a er i at t e a e of I headed across the world to work in some of the biggest sail lo s in stralia and New Zealand.”

Returning to the UK, a business management degree followed, but the draw of the sea was too much and so Alan bought a small ya t, similar in si e to t e one is parents had owned when he was young, and proceeded to sail across the Atlantic to the Caribbean and back. Meeting his future

How a snatched conversation resulted in a meeting of marine minds, creating a nautical company that now leads the way in RIB sales and servicing across Cornwall and the South West.

Alan Harris-Guerrero

wife while he was there, more of which later, lan ret rned to t e to finis a de ree in marine s ien e, spe ialisin in lo speed aerodynamics: “This was an in-road to sailma in , as it o ered t e te ni al side of li and dra oe ients and aerodynami s for sails, i as i ly relati e to t e business that I was about to buy – Mitchell ails t e ery ompany t at ad done my apprenti es ip it all t ose years a o, adds Alan.

“We set up Sail Shape, the new name for the ompany, in a s . lo on t e ri erfront in o ey. innin lar er contracts, we expanded into premises in ost it iel, ma in s one of t e bi est lo s in t e o t est. e company continued to ro and lan and melie t en bo t Quay Sails which would enable t em to pro ide a sail, o er ma in and ri in ser i e t at spanned from Falmouth up to the Hamble, an area that in redibly o ers of t e ya ts o ned in the UK.

ile lan learly as a ery ast te b siness head on his shoulders, he is self-confessed as bein first and foremost a professional sailor, ompetin at a national and ropean le el

in e eryt in from din ies to one desi ns and t e lar er lass. ailin as been a onstant t ro o t lan s life and as a family e no o ns a a t i they keep in their home town of Fowey.

t at of ail ape arine lan s ife Emelie, continues the story: “I was born in Sweden and in comparison to Alan and immy ot into boats a lot later in life.

y first real sailin e perien e as en a friend anted to et into a sailin olle e. There was an open day t at s e didn t ant to o to by erself, so s e on in ed me to o it er. t o t t at yo ad to be ood at sailin to be able to et into t is school, but it turns out t at yo didn t need any experience… and when they told us that not only did yo et to learn o to sail yo also ot to learn ilst sailin around the Atlantic Ocean on a threemasted trainin s ip for t ree mont s e ery year, as sold. nd t at s ere my lo e for boats started.

e same friend t en de ided to ta e a ap year to sail to the Caribbean and back and in ited me to o it er. t as too temptin an offer to t rn do n and so e o t to Las Palmas to join her in a race across the

Emelie Harris-Guerrero

Atlantic to St Lucia, which is where I met Alan.” Emelie was supposed to return to her full-time job in Sweden but instead joined Alan aboard his tiny 24ft yacht and sailed around the Caribbean for a few months before going back to Sweden to pack up and move over to England: “Since then it has just been boats, boats, boats!”

Returning to the UK, and with a young family, Emelie and Alan found themselves working long full-time hours. With Emelie working for a successful kitchen design company however, they rarely saw each other and it got to the point that they knew they had to join forces. With two successful sail lofts, it was that chance conversation I mentioned earlier that saw the creation of Sail Shape Marine. Alan’s friend Jimmy, a very successful and experienced marine engineer, came over one Sunday afternoon. “Alan was out there for quite a while,” smiles Emelie, “and when he came back in I thought, I know that face. Last time this happened, we bought a company!”

This time rather than buying a company, a new one was formed. Jimmy brought with him a wealth of experience with high-end marine brands such as Honda and Highfield RIBs, as well as considerable expertise in marine engineering and so, combined with Alan’s business acumen and Emelie’s management experience, the plan was to set up a marine company that would cover the full gamut of sales, servicing and slip recovery.

“I’ve always been passionate about boats ever since I was tiny,” says Jimmy. “Back in the day, my parents bought us an old mirror dinghy and pretty much left us to our own devices, teaching ourselves to sail. We joined the local sailing club and once we had learned to sail, we progressed into racing bigger and better boats. I’ve been Foweybased my whole life. I had the most amazing childhood, we had such freedom. I didn’t like school much, and as soon as we had finished for the day I would be straight down the hill, either buzzing around the harbour with an outboard or sailing a dinghy even when it was way too windy!”

Jimmy really wanted to study marine engineering, but back then courses were few and far between and so he opted for car mechanics before securing an apprenticeship at Fowey shipyard. Four years of day release saw him qualify in general engineering that covered everything from machining and welding to hydraulics and pneumatics. “I might be working on anything from big tugs with 2000hp engines to traditional pilot cutters. The range was varied, but the thing that united them was that they were all old. This meant that every time something broke, you actually had to re-make it.” Jimmy continued to work there for the next 16 years, before realising his lifelong dream of opening his own leisure marine business selling and servicing outboards.

Jimmy, his wife and family now have their own yacht and every summer sail to the

Sail Shape Marine takes the strain out of boat ownership in Cornwall

Scillies. “We had just bought ourselves a newer boat and, as I had known Alan since our dinghy sailing days, I had popped over to see him about some rigging work. And that’s when we had that driveway conversation. Within 48 hours Sail Shape Marine was born.”

Jimmy is never found far from the sea. He’s been coxswain of the Fowey lifeboat for the last ten years so his ocean experience is exemplary and this feeds perfectly into the business when it comes to sea-trials and advising customers on the best boat, outboard or accessory for their needs. With the servicing and maintenance side of the business seeing substantial growth, the team has now been joined by Rob Staines on the technical side of the business.

Sail Shape Marine brings together all of the aspects of owning a boat. Whether it’s storing your existing craft in their secure facility, upgrading via their sales service or simply accessing the highly popular launch-and-recovery service, customers know that they are in safe hands. “We look after a lot of boats for people where their Cornish home is their second residence. We can have their boat ready for them when they arrive, whether

that be a clean and fuel-up or a full service. If they have a mooring we can launch the boat for them so it’s already afloat for when they arrive or we provide a slip launch-andrecovery service, saving our customers both the hassle of having to own a suitable tow vehicle or indeed towing on Cornish lanes!”

When it comes to buying a boat from Sail Shape Marine, Jimmy and Alan are always available with advice. Even if that means not selling customers the biggest and most expensive boat in the showroom. “We would rather sell a boat that we know our customers will enjoy and be able to manage. They can always come back and buy a bigger and better one in years to come!” adds Jimmy.

“When someone buys a boat from us they can have as little or as much of a handover as they need. I’m very happy to go and launch the boat with them and we’ll go for a run from Fowey to make sure they are comfortable with all the systems. If they need some tips on how to reverse down a slip, I’m happy to do that too. Whatever it takes for our customers to love being out on the water as much as we do.”

sailshapemarine.co.uk

Jimmy Hoddinott

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!

COUNTRY Quintessentially

A perfectly located detached barn conversion set in beautiful gardens and grounds.

Offered for sale for t e first time in nearly years, e ld arn is set in t e most pi t res e of Cornis o ntry settin s, and offers a life of pea ef l tran illity and pri a y.

is attra ti e, so t erly fa in former barn as ori inally on erted to a i standard d rin t e mid s and it as remained a m lo ed ome sin e. e interior is of its time b t it is ery ell maintained and presented t ro o t and it its lar e ardens and ro nds of ir a . a res, t ere is e ellent potential to e tend onsiderably or st stamp yo r o n print.

fferin in redibly e ible a ommodation, t e main residen e pro ides t ree bedrooms a ross t o storeys, alon it t ree bat rooms, a it en brea fast room, a sittin room, dinin room and tility. separate deta ed anne e pro ides a f rt er t o bedrooms and t o bat rooms, as ell as a do ble ara e and a s perb or s op stables.

THE OLD BARN

Guide price: £1.075M

ROHRS & ROWE 01872 306360

info@rohrsandrowe.co.uk

rohrsandrowe.co.uk

WONDER Waterside

Boasting a concrete landing stage with direct water access so you can literally dip your toes in the water, this elegant south-west facing six-bedroom modern waterfront home and separate annexe provides luxury living of the highest standard.

Designed by the acclaimed West Country architects Harrison Sutton, the extensive use of glass provides panoramic water views from all the principal rooms, stretching out over the length of the sparkling Fowey Estuary.

The large open-plan kitchen/breakfast room with separate dining invites conversation over dinner, while the principal sitting room with glazed bi-fold doors onto the terrace makes for cosy evenings spent together, with a snug/cinema room and further sitting room to spread out in. The six luxurious en-suite bedrooms plus a guest annexe ensures room for all, with a garage, boat store, garden and private parking welcoming visitors.

PIEDS DANS L EAU

OIEO: £4.5M

JB ESTATES

01208 862601

sales@johnbrayestates.co.uk

johnbrayestates.co.uk

A state-of-the-art waterfront home commanding an elevated position over the Fowey Estuary with uninterrupted panoramic views.

COMFORT and style

A magnificent four-bedroom modern detached home nestled in the heart of the picturesque Porth, Newquay.

Oering a harmonious blend of contemporary design and coastal charm, umber ongshore invites you to indulge in a lifestyle of tranquillity and sophistication. omprising of , square feet of stunning accommodation, its prime location by the sea allows for incredible ocean vistas to be en oyed at any time of year.

Imagine waking up to the sound of the waves before going to your bedroom window to find panoramic views of the ocean. With spacious living areas, sleek finishes, and lu urious amenities, this coastal haven provides the ideal retreat for those seeking both comfort and style.

Whether you’re a sun seeking family, a discerning investor, or anyone who craves the tranquil allure of seaside living, umber ongshore is your gateway to a life of coastal elegance.

NUMBER 6 LONGSHORE

Guide price: £1M

DAVID BALL LUXURY COLLECTION 01637 850850

sales@dba.estate

davidballagencies.co.uk

The language HOME of a

WORDS BY ROSIE CATTRELL

It all begins with a 1960s bungalow. While quaint and charming in its way, set on the banks of a sheltered, coastal inlet creek of the Helford, it was clear to the team at Woodford Architecture that the home had served its time, and hadn’t been designed to serve the Area of Outstanding Natural Beauty around it, as is all too o en t e ase. Old fashioned, outdated and underperforming in terms of energy use, Sarah, Gavin and the team set about making their plans to develop a home that embraced the land around it, in the particular image of their client’s dream house. Seeking a tranquil space in i to retreat and find home, this calm water-side setting and enchanting gardens and grounds lay ready and waiting to give Woodford’s lients at t ey so t t e only t in le to do was realise the home they dreamt of.

Having lived abroad for some time, the clients were looking to bring back with them a sense of open space and connectivity with the outside, inspired by the exotic blooms of a sub-tropical garden, fortunately known to thrive in Cornish climates. With a determination, as always, to design a home that sensitively responds to the unique landscape and local characteristics already in place in this beautiful location, an elegant and timeless Woodford property was drawn up to take centre stage by the water’s edge.

“We designed the project aro nd fi e blo s, e plains Gavin, “each with a view of the water and with its own separate function, in a clean, symmetrical and ordered plan. For instance, t e first blo is t e s immin pool in and o tdoor area to t e ri t of t e o se. The cool blue of the pool combined with an

In a most spectacular transformation, the Woodford Architecture team work their magic once again to build the home of a lifetime from the ground up.

TOP Beautiful balconies

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Why not add another living space to your home with a bespoke outdoor kitchen.

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outdoor fire and places to sit and rela o ers a feeling of far o places sought by many of us when the sun shines.

“ he second block is the kitchen wing and guest suite,” avin continues, “while the central wing makes up the third block, accessed via a bridge link that runs over the sub tropical gardens and into a double height entrance lounge.” his is where we get into some of the most impressive aspects of the home, with this particular element an absolutely staggering architectural achievement. ooking down over the enchanting gardens below, and with the entirety of the house in full view from the bridge link, you can’t help but be blown away by this incredible home. Welcomed by a vaulted ceiling and a double sided fireplace to warm the upstairs lounge with a view out over the water, the entrance stairwell leads you down to the ground floor and main lounge, e tending out into the garden. It’s a truly e ceptional sight.

With the main guest suite making up the fourth block, and the master bedroom wing completing the pro ect as the fifth, the now

finished property can certainly be regarded as a masterpiece, each detail carefully planned and e ecuted. rom en suites and dressing rooms to balconies and fireplaces, even custom circular windows inspired by the coastal setting and fitted by a local oiner, nothing has gone without the focussed attention to detail Woodford has built a reputation on.

With hints of a modern day manor house standing proudly on the edge of the Helford, the gently sloping grounds lead all the way down from the house to the water’s edge. he re modelled boat house and creek studio restored from the s are ust the cherry on top of a perfect cake. “ ur clients were absolutely overwhelmed with the result,” avin reflects, “and we are delighted with the finished pro ect. Responding to a landscape and integrating this into the building is something we take pride in. It’s about understanding the language of a home, even before it’s been built, and connecting it with the landscape around it.”

woodfordarchitecture.com

FUTURECharting the

WORDS BY HANNAH TAPPING

conversation with Ross Bunyard, Managing Director of Castle Air Ltd.

Could you introduce yourself and your journey with Castle Air?

My background is in accountancy, mergers and acquisitions. I became involved with Castle Air through my family and helped out on the financial aspects of the company. I quickly realised I had a real interest in the industry and so became more involved in the day to day running of the business. Over 20 plus years, I went from sales manager to managing director, and now I’m one of the shareholders in the business.

How did Castle Air come into existence and what was its initial focus?

The company was founded by Roy Flood in 1979 at a time when there were no helicopter charter businesses in the South West. Two ex-navy pilots had approached Roy, asking whether we would like to set up a charter to business. Initially operating from Roy’s home, the company then moved to a purpose-built hangar and private heliport in Liskeard. he first helicopters were small JetRangers,

used not only for charters but also for aerial filming contracts for programmes such as reasure Hunt, and we filmed regularly for the BB , local and films.

We then got into the Italian helicopters such as the Leonardo (or the Agusta as it was called back then) which is a luxury twin engine aircraft. hese were a lot faster and more capable, and used for aerial filming and VIP charters. It was at this time that we started the shuttle service for Lundy Island, bringing clients on and o for the ational rust. he business slowly built over a period of time, moving into helicopter sales just before I got involved. There had always been a small team of engineers at Castle Air looking after our own machines, so as we started selling aircraft we were able to o er our clients maintenance packages as well.

We have always held a good stock of parts to support our own aircraft, and when I jumped on board in the early 2000s,

In

we really began to push the business forwards, not only selling large amounts of aircraft but supplying parts as well, meaning we could o er our ornish clients sales, maintenance, management and storage. In 2012, the company saw substantial growth. I could see that we were one of the biggest sellers of Leonardo helicopters in Europe, if not the world, but we were missing out on the management of some of these aircraft because not everybody wanted to come back to Cornwall for their maintenance. As a result, we purchased a second hangar at Biggin Hill airport giving us an additional sales, charter and maintenance base.

We then began to deal with the larger AW a very versatile, larger aircraft which is used in the oil and gas industry as well as for search and rescue. Our growth saw us become the largest VIP charter business in the UK for helicopters, and one of the biggest in Europe. We are also proud to be the largest on-shore maintenance organisation for helicopters in Europe and we buy helicopters from all over the world to sell all over the world!

In terms of sales, we predominantly deal with Leonardo products. However, as the company has grown, we’ve expanded into military contracts, with a big military base at Boscombe Down where we support military aircraft as well as supporting aircraft in other countries. his work has led us into other manufacturers, so we now deal with Airbus and Sikorsky and purchased a training academy in taverton, loucester in 2 to o er helicopter pilot training for o shore pilots.

We also o er engineering training there, so it’s grown into something of an aviation academy.

Can you talk me through the process of buying a helicopter?

We’ll buy a helicopter, which can be from anywhere in the world, which will then go through our maintenance facility in Liskeard to check that we’re comfortable and happy with the aircraft. We’ll then either add it to our charter fleet or our sales stock. Once purchased, a customer can have their helicopter stored or maintained at any of our bases across the UK. We have a large ground operations team that supports both the aircraft and the client.

What is the benefit of owning an aircraft?

At Biggin Hill, we can interline with clients arriving by private aircraft. We can have a helicopter waiting there to take them on to their final destination I refer to them as time machines! If you’re a busy businessperson, you can get around the UK very quickly by air. A trip that might take you a week by car or train, you can do in a day. Helicopters help make companies grow, because they give you that valuable commodity of time. We are hugely busy in London, interlining into Battersea heliport, which is the only one of its kind at the heart of the city and can fly clients across urope. rom Biggin Hill it’s ust a minute flight to aris. he large twin engine aircraft we deal with o er an enclosed I cabin space, and the AW109 can comfortably seat six passengers. They are very stable, so you can work from the back or simply sip a glass of champagne and enjoy the aerial view!

If I own a helicopter, how does the process work?

Our clients will ring us, tell us their requirements and then my team will organise the whole trip for them. We can arrange for a car to pick them up or, if their garden or land is large enough, one of our pilots will fly the helicopter to them. At the end of their flight, we will have private cars waiting to take them to their final destination. If you don’t own a helicopter, you can benefit from astle Air’s charter service, which we run to all the ma or sporting events in the we even have our own I suites at the ormula ne at ilverstone or you can charter for business use.

How do you see the future of helicopter sales and charter?

ince I , people have realised how very precious time is and it’s changed people’s mindset. Both our sales and charter side of the business is very buoyant at the moment, and the industry as a whole is e tremely busy. ustainability is obviously always a big question mark that hangs over aviation and

so we are currently looking at how we can progress to be carbon neutral over the ne t 2 months, as well as using sustainable fuel. here are even electric helicopters coming they are still in their infancy but we see the future as being in the sky. With helicopters selling from anything between , to 2 million, and military aircraft topping out at million, they are comple machines to look after. With this in mind we have made a conscious decision to try and keep everything in house from sales and maintenance to pilots and parts which allows us to e pand year on year, while o ering our clients the highest level of service.

How does the company support the community in Cornwall?

We are the main aviation supporters to ornwall Air Ambulance, from both an engineering and flying point of view. heir helicopter works under our approvals and we support them with a backup aircraft when theirs is grounded.

castleair.co.uk

Artist STROKE of the floating

WORDS BY MARTIN HOLMAN

In Andy Harper’s studio overlooking Porthmeor beach in St Ives, several large, round panels are stacked against the walls. Each has an all-over yellow surface. These are paintings in waiting; not started yet but primed, sanded and ready to go.

The preparatory stage of making a painting is important. The coloured ground is sanded smooth and, with its luminosity, provides the launch pad for another image. In Harper’s current phase of working, that means a dense and luscious, chromatically vibrant composition. Pulsating colours reach to the edge and paint appears to move, curl, twist and roll li e a melli o s lan a e spo en in f ll array. A variety of brush sizes means marks of different densities appear to lide at aryin speeds with sensuous ease to leave a glossy sheen as if still wet.

Harper is a sportsman as well as an artist. He enjoys controlled movement and moments of acceleration. As a surfer, he knows the exhilaration that accompanies giving into an oncoming wave. A similar sensation exists in painting. He says that he does not know how a painting will turn out when he starts. No meticulous drawings guide the way. But then, for this artist, the destination of a finis ed image is not his only goal. s it s rfin , t e ride is important: that is when technique comes into play. Thus, making has equal status with the outcome.

At the moment, that outcome is exuberant to the point of opulence. The large round paintings in his current exhibition at Anima Mundi in St Ives resemble exotic arrangements of rapa io s tropi al o ers. e no t at olo rf l patterns in o ers in rease t e plants’ success at attracting pollinators to

l re na re n r re ar fi e fo r s e s n o e a n n of And ar er

‘Haven’ 2022 oil on board 133cm by 110cm. Co rtesy t e artist and ater o se odd, e or .

Andy Harper in front of ‘The Carriers’, 2023, oil on board, 120cm (diameter)

THERE IS LIGHT THERE IS ALSO SHADOW

disperse their seed. Scientists now believe t at orid desi ns a t li e mar in s on a r n ay, elpin bees oordinate t eir approa . it t is in mind, arper s paintin s s est so t east sian airport

bs at t e ei t of t e oliday eta ay season. ey imply fertile intera tion in its f llest form, it reds, reens, yello s, bl es and p rples in s irlin a ti ity animated by a l stro s finis enli ened by li t.

t no leaf, stamen or pistil t at e reates orresponds to any plant fo nd in nat re. nstead forms omply it a eneralised ima e ie ers mi t already a e in t eir ima inations, b ilt on a olla e of omparisons t at stim lates an idea of nat re and bea ty stereotypes t at arper plays it . atterns repeat t emsel es o er

t e f ll re ol tion of t e ir lar ima e, as if seen t ro t e lens of a aleidos ope. n e t eir ontri ed appearan e is rasped, estions arise abo t t eir p rpose or ori in. nima ndi alls t is s o The Mandalas, relatin t e loo of t e or to eometri symbols fo nd in eastern reli ions t at a e a spirit al role, establis in a sa red spa e to aid meditation.

That is one interpretation. There are as many responses as t ere are people dra n into t ese remar able ombinations of s ape, olo r, s rfa e and line. e spa e t e paintin s o py seems to be in front of t em, in t e same area ere t e onloo er stands. e olo rs ant to pro e t for ard most of t e time, as if en o ra in t e rest of s to pollinate t e allery it indi id al

o ble is o ery , oil on an as, m

t o ts abo t t eir si nifi an e. or t e artist, t e symmetry and repetition emer e from t at ride e ta es it is materials, and from t e mental spa e ere t ese paintin s e ist ile t ey are ta in s ape in is st dio. oreo er, arper e en onfronts t e t orny estion of et er modern paintin an appear decorative and decides that it can be. t t e or m st ontain more besides, in l din elements t at mi t ontradi t t e initial ass mption t at pleas re is t e paramo nt ob e ti e.

arper mi t ma e one paintin e ery day. ome a e ta en as lon as a ee to omplete. t t at is rare be a se e as to follo t e be a io rs of t e materials e ses. e paints it oil olo rs t at dry slo ly, so e an lea e a paintin o erni t and ret rn to it t e ne t day and find t e s rfa e is still moist. etness is important t is artist or s it t e alla prima met od a layer of fres et paint is laid on top of pre io s layers t at a e not yet dried and remain pliable. rtists a e painted et on et for ent ries, from enaissan e masters li e an an y to t e mpressionist in ent an o and on to leadin ontemporary fi res li e t e erman er ard i ter. e painter as to or fast and s ilf lly, adaptin t e te ni e to indi id al ir mstan es. en e arper s remar able prod ti ity, i is b ilt pon plannin , dis ipline, labo r and a ri ima ination.

s e tal s abo t is or , t e pra ti al aspe t of ma in o pies t e forefront of

t e on ersation. or instan e, e points o t that there are paints he cannot use. Colours deri ed from pi ments ontainin o ides are o t be a se t ey dry too i ly. t ndian ello is definitely in. fa o rite of is, its deep and ores ent tone pro ides t e transl en y e pri es. en e t e yello primin on t e npainted panels it establishes the pitch other colour choices follo and it stays in t e mi as a ne paintin emer es.

arper or s ard to nderstand t e olo rs e ses. f an e t e sli test t in , e eryt in an es for ood or not. o, t ere are balan es to maintain or pset reati ely. al in abo t a series of paintin s e made in t e early s t at feat red only s at es of rass from ed e to ed e, e spea s abo t olo r and est res as t e ey omponents rat er t an types of rass. n fa t, rass as ne er is s b e t e anted an all o er, repetiti e pattern for t e at s rfa e. o , as t en, t ose mar s a e a alli rap i ality a i of a br s tip or a hard point can pull away paint to leave t e impression of a s i of tone, li e li t and dar sides to a sin le stro e. simple mar , e modestly points o t, brin s abo t an effe t t at an loo ery sop isti ated.

e says e no as a sense of i tones to oose. t e also benefits from years of tea in art to ad lts at ondon s City it a er ompletin is at t e oyal Colle e of rt in . Colo r t eory as part of is o rse alt o , e adds, stri tly spea in , am not a t eorist en it omes

TOP LEFT

ine ar ed e , , oil on an as, m. Co rtesy t e artist and ater o se odd, e or .

TOP RIGHT

ello tro e , , oil on an as, m.

Co rtesy t e artist and atri eide Contemporary rt, ondon.

ABOVE RIGHT es ent into eep ime , , oil on an as, m. e est Colle tion, .

ABOVE MIDDLE e ost re of mpartiality , , oil on paper, m

ABOVE LEFT ar ands , , oil on an as, m

HAND-CARVED ALCHEMY

MEL CHAMBERS, OF ALCHEMY TILES is one of the last artisans in the UK to use ancient 13th century techniques to create multi-award-winning, handcrafted tiles in a modern-day context.

Awarded best hand-crafted tile company for a third year by the Southern Enterprise Awards (SME), Mel’s unique combination of ancient techniques, philosophy and poetry result in tiles that are inlaid with unique coloured clay and inspiring words.

Every tile is bespoke and hand-carved, perfect to personalise any kitchen, bathroom or fireplace. Each one takes a minimum of two weeks to complete and is created to stand the test of time.

to colour. But colour has its own language and some rules have to be learned. For instance, there is prussian green and sap green, plus how much medium you add with which green. The greens I used are not actually found in grass but respond much more to the common idea of how grass looks. Too much prussian green and the effe t is old too m sap reen and the result is too yellow.” In that same period, he co-founded the NotCut darkroom and studio in London with friends, which involved him in photographic colour mixing.

By now another picture will be forming. From the series of grass paintings, he moved on to blue paintings that had the sea in mind. The work primarily consisted of sequential levels of colour in parallel bands. is inspiration ame from s rfin , a pastime

since his childhood in Torquay. “Every surfer knows,” he says, “that ninety per cent of the sport involves sitting in the water. So, my sea paintin s re e ted my e perien e of ater, of loo in for t e sli test in e tions of olo r and concentrating on the line between them, and between sky and sea.”

Allusion is a factor in Harper’s images, far stronger than representation. Still, it is more helpful to draw out the abstract elements than attempt to describe their association with the world we know. In his studio is a chest of shallow drawers. Open one and neat rows of paint tubes appear (a recent feat of organisation, Harper admits) that are arranged by colour and intensity through the spectrum. This display resembles the keys on a piano or, more appropriately, an organ that allows notes to be mixed into resonant chords.

‘Seriquel’, 2023, oil on board, 60 cm (diameter). Courtesy the artist and Anima Mundi.

Indeed, Harper pulls out many of the stops at is disposal. is approa is systemati the order of tones becomes the basis for building a composition. Harper is a keen record-keeper. He compiles index cards that list the processes he applies in each of his paintin s, t e olo rs sed and t e e ible media he adds to extend a stroke as paint slips from the brush, another instrument critical to the making process.

er t e sea paintin s, arper loo ed to the stars. The spur was a residency in 1996 in the Moroccan town of Asilah, which hosts artists’ workshops and has a stirring view of the Atlas Mountains. The theme occupied im for a year as t e br s loaded it indigo or ultramarine oil pigment mixed with the thinning agent of white spirit travelled over the lighter-coloured surface, small tra es of nderpaintin ere le li e tiny dots of light. These became the starry constellations, results entirely of a process.

Making creates the theme, with action suggesting a “subject” rather than the other way around. There is never an intended story, with no hidden key to unlock the narrative of his life. The star series was the dispassionate product of a process in i a idental effe ts an s est immense scale related to a dimension outside painting. But, he says, “the artwork leads me to be interested in other things. I read books about stars when I was making these paintings and, now, I take a strong interest in the structure of plants because of t e oral asso iations in t e rrent or .

The move from sky back to ground was precipitated by three events. The first was Harper’s growing awareness of the post-war landscapes by the British painter Graham Sutherland. Suffused with strange, looming natural forms and bitter, acidic colours, they contained latent visual metaphors for a surrealist spirit. Then came a visit in 2005 to Brazil with his partner, artist Abigail Reynolds, where Harper observed how the tropical climate facilitated the speedy growth of luxuriant plant life a property left a ant a fe months might be taken over by exotic flowers alarmingly quickly.

Both encounters brought a subjective element into his perception that the third event accelerated, for he was invited to show in London at the Museum of Garden History with fellow contemporary artists alongside historical images by William Blake. That experience alerted him to “the sensibility of how things grow, for instance when strains are hybridised, and the romantic associations that can release.”

Not that he came unprepared to observing the natural world. His father was a keen gardener in Devon, although he could not name what he grew. Similarly, the richly trailin ro nd o er of o er and folia e that Harper paints has little to do with horticulture. “Scatter theory, geometry and t e oreo rap y of sby er eley, filmed overhead, are more relevant,” Harper says, and o paint omes off t e br s t ro known, repeated gestures.”

TOP ‘Spring Reverb’, 2023, oil on linen, 180 cm (diameter). Courtesy the artist and Anima Mundi.

‘Side Chain’, 2023, oil on board, 60 cm (diameter). Courtesy the artist and Anima Mundi.

THE LUXURY CORNISH HOTEL AWAY FROM THE CROWDS

Nonetheless, the new theme did not emerge immediately and followed several months when, sensing he lacked new ideas, he stopped painting entirely. As a modernist principally concerned with technical process, he found his way back by looking at past art, at the zigzag lines, repeated forms and dramatic receding perspective of progressive British painting at the time of WW1. It emphasised dynamic effe ts and into t is sol tion arper piled t e sources he had already gathered.

The paintings on show in St Ives are the most recent product of that fusion. Their circular format, which underlines the desire to infer movement, seems at first a little dis on ertin . arper see s out that type of reaction: inspiration comes partly from s ien e fi tion ritin , spe ifi ally J.G. Ballard’s 1952 novel The Drowned World that anticipates the solar catastrophe so much

on people’s minds today. Scientists a century from no resear t e ora fo nd in a s ltry lagoon where the city of London once existed. Indeed, the density of these paintings’ design appears claustrophobic, even threatening. “Those aspects give an edge to the viewer’s expectation of bea ty from ri olo r. e e en admits to some technical facility: “As a youth, I played drums and was drilled in coordination exercises. I can paint patterns forwards and in reverse. These paintings show that.” Yet that helps draw out the physical element behind these images, an instinctive artistry that spells out the thrill of enjoyment.

Andy Harper: The Mandalas continues at Anima Mundi, St Ives, until 28 August 2023.

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‘Diode Clipping’, 2023, oil on aluminium, 79 cm (diameter). Courtesy the artist and Anima Mundi.

UNKNOWN Into the

WORDS BY REBECCA HAWKEY | IMAGES BY MIKE LACEY

On 2nd June 2023, Mike Lacey began a 230-mile open-water adventure that would see him paddling around the coast of Cornwall on a hand-built SUP board. Luckily, Mike didn’t do this alone, in fact he managed to persuade a group of equally audacious individuals to tag along.

The team in the water included his brother, Rich Lacey; Porthleven business owner and local surfer Kelvin Batt; and brothers Sam and Will Boex, founders of Flexi-Hex. The team on land was composed of friends Alex McDonald and Ed West, who just so happen to be photographers and videographers, on hand to provide vital logistical support for the entire trip, driving around the coast to scope out camping spots, communicating with the boys via satellite phone, and documenting the journey along the way.

Together they would tackle switching tides, strong currents, dangerous swells and sleepless nights, but it wasn’t all bad, for they

would also experience crystal clear waters, supportive communities, unparalleled scenery and camaraderie amongst the crew. Here’s how it started.

In 2 , after years of surfing local breaks, ike hung up his camera as a successful wedding photographer and, quite literally, launched himself into the world of ocean photography. Living near Porthleven with his wife at the time, he was lucky enough to find a perfect studio space in the village, and aptly named it Waves Gallery. traight away he began filling it with photographs of a world that some could only dream of seeing in person, and that most never would.

Mike has always pushed the boundaries of ocean photography, capturing the seemingly impossible. He has, and still is, a pioneer of this craft for those of us that have followed in his footsteps, always o ering advice and guidance to those that seek it. His appetite for e ploration, even after ten years of gallery success, shows no signs of abating, and so, in true Mike style, he decided to mark this decennial by

Mike Lacey

Perse erance, and a shi in perspecti e, grants safe passage to this troupe of ocean dwellers as they embar on a oyage around the peninsula they call home.

The team and their hand built crafts

ABOVE Navigating their way around Cornwall’s coast

© Alex McDonald

arranging a rather extraordinary expedition. Whilst this trip was about recognising a milestone for Mike and his career, the guys couldn’t take on something so noteworthy without using it as a force for good. With this in mind, the team chose two charities to raise money for, and they were SAS (Surfers Against Sewage) and CALM (Campaign Against Living Miserably). Every member of this team has a relationship with the ocean, whether it’s riding her waves, swimming amongst the seaweed or taking photographs of the deep, and therefore both of these charities are close to the hearts of all. he benefits of immersing yourself in open water, whether that’s the ocean, the rivers or lakes that make up our island, are well known when it comes to improving mental wellbeing and living in the present moment. However, these cannot be enjoyed if those very waterways are being polluted, which is why the work that SAS is doing is vital.

Raising awareness and money for both charities was an important part of this journey, and when chatting with Mike, he speaks openly about how integral the ocean is to improving his work-life balance and state of mind. “Life can quite easily feel overwhelming, like you can never get ahead, with emails, work and so on. There’s never much downtime, so for me being in the water, taking photos, it’s such a break from it all. On the paddleboard you’re in the zone, dealing with the changing environment all the time, so even if you drift o with your thoughts, it brings you back to the moment. You’re also overcoming something that’s hard as well, and it’s good for your mind to know that you can get over something again and again.”

Mike and the team spent the months prior to

launch building their SUP boards from their driveways and garages, with the materials supplied by the team at Fyne Boat Kits. These sustainably sourced timber SUP’s had to be built with longevity and dependability in mind, ensuring such craft could withstand the unpredictable Cornish coastline, and the notoriously interchangeable Cornish weather. They also received support from Fourth Element, kitting the team out with equipment that is built to survive the chilly dawn starts, and the blistering midday sun, protecting the team from head to toe in gear that is made for adventures just like this one. And with Fourth Element’s drive to use recycled materials in products like fishing nets and plastic bottles, what could be a better match for the paddle adventure?

Facing such challenges head on and making decisions in the moment is something Mike and the team became all too familiar with from day one, when their 20-mile target fell five miles short. How each individual and their board fared on the open ocean was always going to be a moment of adaptation, and whilst they had all spent years enjoying the big blue, nothing can prepare you for relinquishing all control to your surroundings. Understanding their own limitations, recognising weather patterns, learning to listen to mother nature and when to concede to her whims; all were to become valuable lessons.

After a few days on the water, safely paddling past Crackington Haven, Port Isaac, Padstow, Watergate Bay, Holywell Bay, St Agnes and Portreath with minor disturbances, the team rounded the headland to Godrevy Lighthouse, a sight so familiar and homely that it was the perfect place to make camp, coming ashore at

© James Warbey

TOP Outcrops of Cornwall that most never get to see

ABOVE

In contrast with the imposing coastline

© Alex McDonald

Porthmeor beach. Here the boys were greeted with open arms from friends, family, and the mayor of St Ives himself, not to mention a feast fit for a king thanks to orthmeor af . This little slice of luxury was well deserved, and much needed before they attempted the daunting paddle around the notoriously wild Land’s End headland. A good night’s sleep, for the most part, had them up at dawn ready to tackle day five. Ale cdonald, and fellow photographer James Warbey, were in the water documenting their send o as they disappeared into the pasty morning light to the horizon beyond.

The whole team made it to Pendeen Lighthouse, however, despite the best of intentions, the weather had ideas of its own, forcing everyone to come ashore and press pause on paddling until conditions were safe to continue. It was also here, having started the adventure together, that their paths diverged. The weather kept them bound to land for over a week, due to which Sam and Will lost their window and had to return for work commitments. However, when the seas and skies became peaceful once more, Mike, Rich and Kelvin made the run from Pendeen, through the straight between Longships Lighthouse and the Penwith headland. Here they passed Porthcurno, Penzance and Praa Sands, before rounding the headland that would lead them home to Porthleven, a much-needed pitstop, arriving on 12th June after clocking 4 miles of paddling.

Whilst ike and Rich had to postpone the final leg by a couple of weeks, Kelvin continued to push for the border of Plymouth solo, arriving safe and satisfied after some incredibly favourable conditions. n 24th June, ike and Rich set sail once more from Porthleven with a somewhat daunting 90-mile stretch to bring

them into lymouth. n the first day they hit their 20-mile mark. On the second day they upped it to 30-miles, and on their third and final day they clocked an ama ing 4 miles. Thanks to this they completed the challenge in ten days. Stopping at Fowey and Looe on the last day for refueling, they had to tackle Rame Head before they could relax. “We had to get around Rame Head with only three hours before the tide was going to turn,” says Mike. “We cut across the bay, maybe three miles out at sea to try to make up some of our paddle time and to race the tide. We had minimal supplies at this point and no signal. Luckily we got to Rame Head just as the tide switched. We were exhausted, but the tide pushed us into the river at Plymouth – the last push to our end point at the bottom of the Tamar Bridge, the marker between Devon and Cornwall.”

Steering between such a vast industrial shipping channel, and racing against the dying light, ike and Rich reached the finish line right on schedule, with a grand total of ten days on the water, and an impressive 230-miles under their belt. A successful foray, for sure, but one that Mike says he won’t be repeating any time soon!

Given that Mike is a photographer and videographer, it should come as no surprise that capturing this trip was a personal goal of his. With support from filmprocessing.co.uk, ike was able to capture shots on film, along with his digital content which will eventually be used in a film documenting their time on the water, to remind us just how spectacular our coastline is, and how much it needs protecting. ou can usually find ike at his Waves allery studio in Porthleven, if he’s not out capturing the underwater world for us all to enjoy.

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WAVESRising from the

WORDS BY SHARON KEENE

Capturing the architecture and geology of Cornish sea caves in alluring and powerful paintings.

It is well known that Cornwall’s light attracts many artists to its shores, but at first lan e ara dams appears to a e t rned a ay from t e s n, preferrin t e dar ness of sea a es to t e brillian e of bi s ies. et li t ill minates er paintin s, pi in o t s arp ed es and fa ets, or t e menis s of a tidal pool. e presen e of ater arries it f rt er still, re e tin p into t e a erno s spa e. s t e eye ad sts, idden ri es appear, in e el li e olo rs of al ae and t e mineral ri stone. i t a es r e, and it s more prono n ed when the source is narro , s e says. in of a ite room, and o t e li t reeps in, ently delineatin everything with minute tonal ariations, t e s btlety of it. is effe t is ma nified in a a e.

Colle e of rt, and a er rad atin spent time in ondon, o t ndia and t en ersey, ere er fo s t rned to oastal lands ape. e intertidal one, t at liminal spa e bet een land and sea, as al ays fas inated er, b t on settlin in adsto , almost t o de ades a o, s e t rned er attention to t e more ar ite t ral feat res of t e tide line t e noo s and rannies so o en o erloo ed.

e Cornis oast is so aried, and t e eolo y so ri riddled it a es and nat ral ar es, s e says. e slate rey mi t be tin ed it ma e or t r oise, riss rossed by ribbons of art , ile in contrast, the granite of an i al is patterned it massi e porp yriti rystals. ere is a ri ness of te t re too, and t e fa lt lines and folds are testament to millions of years of intense eat and press re. ara lo in ly re reates t e str t res and atmosp eres of t ese mysterio s pla es in er an ases t e a es, o es, liffs and ro formations t at nder t nort Corn all s oastal ed es. PREVIOUS

ara s lo e of t e oast be an as a ild, on family olidays in Corn all. e later attended almo t ool of rt, ontin ed er st dies at C elten am and t e oyal

rea ill from t eor e s ell , oil on linen, m

ara dams

TOP ol nan Ca e , oil on linen, m Cobalt Ca e , oil on linen, m

Ca

, oil on linen, m etrot al r anorama , oil on linen, m

ea in er s b e ts isn t al ays easy some rarely re eal t emsel es and meti lo s plannin and resear is a ne essary part of t e ob. ome pla es, s e says, are only a essible once or twice each year, while others are relatively easy to get to, yet so changeable that ea en o nter is ite a t enti and ni e. ery o tin offers somet in ne , s e e plains. ome of t e most re ent paintin s of e train ay, also no n as o y ea at re one, are s b e ts e re isited. is nat ral ar , in fa t, s e first painted o er a de ade a o. e elements a e been b sy se tions of liff a e fallen a ay, s apes a e altered, and ne anta e points reated. t is a dynami en ironment, made more so by an in sea le els and fre ent storms, and t e paintin s a e be ome a do ment, a re ord of t at pro ess.

o mentation is ey to ara s ay of or in . Carryin a s et boo , rat er t an a amera, s e dra s from dire t obser ation, re onstr tin t e s b e t in pen il s et es and small olo r st dies, stone by stone. a mar re ires a proper nderstandin of t e s b e t, and in loo in so intently e eryt in is not only re orded on paper, b t ommitted to memory. e e perien e of bein t ere, t e li t onditions on t e day, t e so nd of t e sea or t e ind istlin t ro , all ontrib te to t e finis ed paintin .

a in er st dio, preparation may in ol e f rt er omposition s et es, to de ide si e and s ape, and t en linen is stret ed, si ed and primed. e painted s rfa e is b ilt p o er many or in sessions, and t e finis ed pie e may ta e a year to omplete. ey don t

really get interesting until they’ve been on t e o for a fe mont s, s e says. aitin for t e paint to dry before it s or ed a ain, ea layer pro idin t e fo ndation for t e ne t. il paintin s are a laminate, and li t penetrates and s rro nds t e pi ment, i enri es t e ima e. t s rat er li e or in in a cave in some ways, the colours begin to glow as time oes by.

n er st dio, t o storeys abo e adsto s narro streets, ara s rrent series in l des s b e ts from and s nd to el ombe o t , st a ross t e e on border, it o asional forays to t e so t oast, and t e oseland. e base of t e liffs are o en more ro nded, worn smooth by constant attrition, but as you loo p, t e ro s be ome more friable, more an lar. is as parti larly apparent at el ombe, s e says. esol in t e first of a ne series al ays feels li e an important moment, and so it as it t is. e initial st dies ere done on site a fe years a o, a er ite a s ramble a ross bo lders alon t e s oreline at el ombe o t , on an e tra lo sprin tide. is onderf l ar pier es a tall, narro sta , i stands at t e so t ern end of t e bay. e strata are almost erti al, and from t e land t ey resemble a a e at t e point of brea in , massi e blo s s spended, on t e er e of peelin off li e frot . e pat of sand re ealed for barely t enty min tes before t e sea re laimed it.

Closer to home, the Camel Estuary is another of er fa o rite s b e ts, et er it s a i s et made o t al in er order Collie, ab, or en a in in a lar er pro e t. any isitors asso iate t is part of Corn all it

rollin d nes and ide bea es at lo tide, b t a ain, ara see s o t a ne perspe ti e. e too ad anta e of a drop in t e le el of t e sand to s ee e into a narro t in t e liff on a misty mornin , ere an n s al feat re, a ands a e of ro , forms a small ar . rea ill, st isible, dra s t e eye a ross t e ater, lendin s ale and onte t to t e finis ed pie e.

ere is o en an r en y to or in in t is en ironment, s e e plains, and a need to at er as m information as possible before t e tide omes in, or t e li t

an es. sometimes a e to rely on a ind of s ort and on site, resortin to is al reportin at t e e pense of e perimentation, b t dra in an also be a far more open ended and ontemplati e pro ess not a means to an end, b t an end in itself. n a s et boo filled it small e ents , min te details are aref lly obser ed, tiny feat res t at may pass nnoti ed in t e lar er lands ape t e ay ater lea es a memory of its mo ement a ross t e sand, or a bree e r es t e s rfa e of still ater. sin le droplet sends on entri ir les ra in a ross a pool, e oed by s ado s on t e pebbles beneat .

omin in on t is aspe t of t e oast in a ne series of rap i or s on esso, ara e plores t e ep emeral and eetin nat re of tidal pools in in , li id ar oal and onte, apt rin re e tions, ripples and eddies, and a s estion of at lies it in. ara s st dio is f ll to t e brim it boo s and treas res, mineral spe imens and leanin s from t e strand line, and or in pro ress

fills t e alls, ile some of t e finis ed or s are on s o in t e allery do nstairs. e is also one of t e ery fe li in artists to e ibit at t e aas allery in ondon, sin e pert aas, t e C Antiques Roadshow pi t re spe ialist, dis o ered ara s or in and offered to represent er on t e spot. e as ampioned er paintin s e er sin e, ostin a series of solo s o s, sometimes a ross t o en es, and ta in indi id al or s to ros enor o se and in aastri t.

nint e ibition ill open on t eptember t is year, t e first ma or olle tion of ara s or sin e . re io s s o s a e enerated reat e itement amon olle tors, o a e e ed and e en amped o t to obtain a parti lar pie e. ere s a ertain ine itability to learnin t at a irin an dams is almost as allen in as it is for ara to rea er s b e t. ere s an ndefinable, e o ati e all re to t ese paintin s, possibly best e plained by pert aas imself. oo in at a es it ara dams is to mar el it er at t e nat ral at edral s apes, t e te t res and patterns of eolo y, and t e play of li t o er ro and pool, e says. e paints so onestly and intelli ently, yo an t elp b t lo e er pi t res be a se t ey are not abo t er, t ey re abo t at s e sees, and s e lo es it.

Sarah Adams: A New Collection shows from 27th September to 13th October at The Maas Gallery, London.

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sarahadamspainting.co.uk

Eventide

WORDS BY JAMES WEBB

Working for Cornwall Wildlife Trust has proved one of the most rewarding experiences of my professional life. I continue to be in awe of the beauty of Cornwall’s countryside and coastline, and fascinated by the wildlife we share our home with – which onstantly find myself learnin somet in new about (thanks to the patience and knowledge of my colleagues, many of whom are ecologists, biologists and wildlife experts). Yet the inspiration and joy I, like countless others, take from nature, is countered by a sense of foreboding about the sheer scale of challenges facing wildlife.

When out and about, paddleboarding along the coast, spending days on our beaches, or walking through Cornwall’s vibrant heathlands and woodlands, it can be easy to forget that we face an environmental and ecological crisis. But at Cornwall Wildlife Trust, we see and hear evidence of this daily, as more and more data o en se red by a host of passionate and dedicated volunteers) highlights how threatened nature here, on our doorstep, is.

And that’s a key role of Cornwall Wildlife Trust – to communicate both the scale of the crisis while simultaneously celebrating nature and offerin ope for its f t re. e a se there absolutely is hope. We know the habitat creation and restoration work our supporters make possible has a direct impact on wildlife,

James Webb

while initiatives like the Knepp Estate in Sussex (home to one of the UK’s most ambitious rewilding projects) demonstrate how quickly nature can recover when provided the chance. We’re now looking to provide that chance through an enormously exciting and ambitious project at our Helman Tor nature reserve (a hidden gem that’s well worth a visit!).

Vitally, we also need to communicate that e an all ma e a differen e, inspirin and supporting people to do so. Because if nature is to stand a chance, it needs more and more people to act; farmers adopting more sustainable choices, MPs and councillors supporting bold policies for nature, businesses improving their practices, and anyone and everyone through wildlife gardening, food and travel choices, second-hand shopping, membership of Cornwall Wildlife Trust - all as part of one movement for Cornwall’s wildlife and wildlife places.

The most rewarding thing about my role at Cornwall Wildlife Trust? The sense of working on one of the major, global issues of our time, but on a tangible, local level, in – and for – a place I love.

James Webb is the Director of Fundraising and Communications for Cornwall Wildlife Trust. To make contact, email supportercare@cornwallwildlifetrust.org.uk

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