Drift 38

Controlled FREEDOM

Arrangements vary as experiences accumulate, transcending borders and personalities

A JOURNAL FOR THE DISCERNING

Drift /drift/ noun

1. the act of driving something along

2. the flow or the velocity of the current of a river or ocean stream

verb

1. to become driven or carried along, as by a current of water, wind, or air

2. to move or float smoothly and effortlessly

We invite you to continue your lifestyle voyage online. Find inspiring stories and uncover more luxury content on Instagram @driftcornwall. Join our exclusive e-journal community at drift-cornwall.co.uk to receive recipes, reviews and insider knowledge of some of Cornwall’s most-loved luxury destinations.

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A JOURNAL FOR THE DISCERNING

On the cover

‘O sol de Londres’, 2003. Private Collection, London. Photo Sid Hoeltzell. © Beatriz Milhazes Studio. Beatrix Milhazes: Maresias continues at Tate St Ives until 29 September 2024. As featured from page 113. tate.org.uk

CEO Ben Pratchett – 01326 574842 ben.pratchett@enginehousemedia.co.uk

Client Director

Jonathan Perkins – 07587 072706 jonathan.perkins@enginehousemedia.co.uk

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

DRIFT is published by: Engine House Media LTD

Holbrook, The Moors, Porthleven, Cornwall TR13 9JX

www.enginehousemedia.co.uk

www.levenmediagroup.co.uk

Creative Designers

Spencer Hawes Jamie Crocker

Finance & HR Manager

Charlotte Forster charlotte.forster@enginehousemedia.co.uk

Credit Control

Tracy Dart – 01326 574842 tracy.dart@enginehousemedia.co.uk

ISSN 2632-9891

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

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. co.uk to find out more. Our mission is to create READ-WATCHEXPERIENCE media opportunities marrying together consumers with the fabulous businesses across Cornwall. Our publishing and marketing teams are specialists in creating print and online communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and magazine experience we develop effective communications that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.

TEAM

Foreword

Pattern is something of a dichotomy. Depending on the context, it can be uniform and ordered or riotously random. Pattern is everywhere. It appears in nature in the form of ripples, spirals and tessellations; in science we see sequences and symmetry; while in art it can appear as abstraction and reflection. Works by artist Hannah Davies (28) reveal nuances of motif achieved by drawing objects from a reverse perspective. As one of contemporary art’s most sought-after figures, painter Beatriz Milhazes’ controlled freedom (113) combines complex patterns to create coherent style. Not all art is confined to canvas, as is evident at Cockwells Modern & Classic Boatbuilding (77). Taking hull forms from the past and redesigning them for the present, modern materials and technological ingenuity

elevate their craft to new heights. Similarly, Cord Surfboards (102), a company with a venerable sixdecade long history, has resisted the temptation to become a heritage brand, preferring to push the boundaries of what’s possible with investment in machinery and materials to keep their boards ahead of the curve. And not all art is visual as is appreciated by our other senses; sound, smell, taste and touch. St Moritz’ new approach to wellness (40), is a saturation of the senses, each pervaded by a level of luxury previously unseen; while our sense of taste is invited to try pairings anew with a collaboration between Sharp’s and Kota Kai (53). We invite you to join us as we discover new ways of appreciation through a carefully curated collection of narratives designed to inspire and delight.

Our contributors

We have an exceptional and loyal team here at Leven Media Group but as a fast-growth business we’re always interested in talking to outstanding individuals. If you’re a superstar of extraordinary talent then we would love to hear from you.

Call us on 01326 574842 or email enquiries@enginehousemedia.co.uk Visit driftjournal.co.uk to read more about our writers

Providing life changing opportunities for young people across the UK www.diveprojectcornwall.co.uk

Martin Holman

Hannah Tapping

Jilly Easterby

Mercedes Smith

Jamie Crocker

Lydia Paleschi

Handsome & Substantial Detached Georgian Residence

Seascape | Tregurrian | Nr Watergate Bay | TR8 4AD

£995,000 Guide

Standing handsome, proud and fabulously situated within a small peaceful hamlet just half a mile above the golden sands of Watergate Bay is Seascape, a gorgeous and completely refurbished five bedroom detached Georgian residence full of original character with a modern style and panache. This substantial property stands prominently within the hamlet of Tregurrian offering far reaching westerly views encompassing a swathe of North Cornish coastline and out to sea.

POLKINGHORNE BARN | GULVAL | OIEO £1,000,000

A delightful two-storey barn conversion with an additional cottage and studio set in approximately 3.5 acres within a private secluded Cornish valley.

MELLAN HOUSE | COVERACK | GUIDE £1,250,000

A substantial 4 bedroom home that is immaculately presented with a captivating garden, complimented by stunning sea and harbour views.

This modern, 4 bedroom, family home with sea views o ers a perfect opportunity to live a beachside lifestyle while still having convenient access to the town centre of Newquay.

LAZY WAVES | NEWQUAY | GUIDE £1,250,000

Impressive three-story townhouse currently run as a successful bed & breakfast, with sweeping views over Newquay Harbour and beyond.

17 SIMPLICITY AND TRUTH

Through the lens of Josh Rushby

28 MOMENTS OF BEAUTY

Hannah Davies sees inspirational images everywhere

40 AND BREATHE

St Moritz, the epitome of beachside luxury and wellness

53 GRAPE VS GRAIN

A unique pairing of food and drink

58 LUXURY HOMES

At the pinnacle of the Cornish market

67 REPRESENTING THE FINEST

A gallery space to appreciate talent

77 WHERE PAST MEETS PRESENT

An exceptional vessel with outstanding performance that preserves heritage

87 SEARCHING FOR SOLACE

Using poetry as an expression of a journey

98 AT THE CUTTING EDGE

Embracing sustainable, sensitive and challenging design

102 SHAPING SURFING SINCE 1965

A career that spans and spearheads

British surf culture

113 CONTROLLED FREEDOM

One of contemporary art’s most sought-after figures

122 EVENTIDE

The last word from Sarah Douglas

SimplicityTRUTH and

WORDS BY HANNAH TAPPING

From the heart of the country to the heart of the county, Josh Rushby plies his cratft.

Growing up in Leicestershire Josh Rushby went on to study photography at the Cambridge School of Art, graduating in 2009. Whilst there he shot almost exclusively on film and learnt the fundamentals of darkroom processing under the guidance of celebrated photographer HAG.

Moving to London in 2010 he worked extensively in commercial studios honing his craft photographing fashion, still life and interiors for leading UK brands. In 2014 his work took him to South East Asia where he spent several years travelling between China, Vietnam and India photographing furniture and documenting the makers there.

buildings and gardens in this wonderful landscape. When capturing these images, he strives for simplicity and truthfulness (no artificial light, no post-production wizardry) and lets each process or place present its own story to the viewer. Shooting handheld on compact mirrorless cameras means he can be as unobtrusive as possible in enclosed spaces and fast and light when on location.

Bringing these pictorial stories back home added weight and provenance to the designs. It helped educate UK consumers on the often-unseen effort and artistry that goes into making beautiful products, showcasing heritage skills and the value of proper craftspeople.

Josh continues to enjoy predominantly shooting interiors but in more recent years, and since moving to Cornwall, his personal work has again turned towards documenting makers, heritage

Josh currently lives in Penzance with his wife Molly, who is an architect, and their young daughter Florence. They spend as much free time outdoors as possible, engaging with what Cornwall has to offer, such as surfing, hiking and visiting local landmarks and historical gardens. Their favourite spots are Trebah, Botallack and Godolphin House. The latter is the focus of one of Josh’s current personal projects as he aims to document the gardens and grounds through all seasons and all weathers.

Josh welcomes commissions and works both locally and nationally. More of Josh’s work can be found on his website.

joshrushby.com

ABOVE

Stonecrop seedheads, Godolphin House

ABOVE Throwing

TOP Clay Spiral

ABOVE Ceramics by Giulietta Hextall

ABOVE

Connemara, Ireland

Moments OF BEAUTY

WORDS BY MERCEDES SMITH

Hannah Davies sees inspirational images everywhere, as reflected in her elegant paintings.

Exhibiting at Whitewater Contemporary this summer, artist Hannah Davies presents a collection of paintings which explore the theme of ‘reflections’. This seems, at first, to be unusual subject matter, and yet Hannah’s work cleverly pulls together landscape, figuration and abstraction into a single line of creative enquiry. The result is imagery that asks you to lean in and make sense of what you are seeing, instantly connecting you with the work and revealing the fascinating complexity of our visual world.

Hannah was born in Cambridge but decided to stay permanently in Cornwall after completing a degree in Fine Art at Falmouth in 2002. “I fell in love with

Cornwall as soon as I came to look around the university, and saw its location on a palm-lined street with the beach behind,” she tells me. “It made my choice of art college very easy! I felt like I fitted, and I made Cornwall my home.” Her interest in reflections began whilst studying, against the backdrop of a degree level education which teaches all of us who study art to notice and interrogate every visual stimulus available. “I started to look at reflections in the first year of my degree,” says Hannah, “and have been fascinated by them ever since.”

Coming from Cambridge, I had a seven-hour journey to and from Falmouth each term, and I passed the time drawing people on the train. So as not to be too

‘Lines and Leaves, Cambridge in Reflection’

Davies

CREATE

intrusive I drew them in the reflection of the train window, and I started to notice the wonderful layers and contrasts created on the glass as the landscape rushed past over the faces of figures lost in thought. This developed into looking at café windows, with their wonderful layers of interior and exterior worlds, all colliding into one dreamlike image on the glass surface. I never get bored of this ever-changing reflective picture, and I often paint the same window over and over as the seasons and the light change. Even within just one day a reflection will completely transform with the rising and setting of the sun.”

Using transparent layers of oil paint, built up slowly so that each layer is visible on the canvas, Hannah recreates the shimmering atmosphere of thrown light and the reflected images that surround us on a daily basis. Her paintings merge private and public spaces, and produce strange and surprising combinations where coffee cups, trees and seated figures float through sea and sky. Her images are mesmerising in their simultaneous sense of movement and calming stillness, with the echo of something vital in between.

“My working process starts when I catch sight of reflections or beautiful light when I am out and about,” says Hannah. “I carry a tiny sketchbook and a camera in my bag to capture that first idea. I make so many images and sketches that I always have a bank of ideas to work from. I’m fascinated by our relationship with nature. Layering up all the beautiful, organic shapes of the landscape against the hard lines of our interior worlds, in my view, just makes nature’s forms even more beautiful. The natural world is most important to me, but my paintings also look at how we move around and interact within our spaces, at people’s body language, whether together or alone, whether sitting still inside and having a break, or rushing past not noticing. I paint in oils, which is important to me as I love the history of oil work and the slow painting process. I try to let my first marks, or sometimes the under-drawing, show through so that the craftsmanship, the timeline of my process, is there for all to see.

“My actual paint choices are always the same – I always go back to my favourite colours and I find it difficult to work with

CREATE

any others – but my palette changes with the seasons as I am so influenced by the weather and by my surroundings. Winter brings more muted, pale blues and browns, then changes to brighter greens as spring comes, and then yellows and pinks as summer arrives. My paintings are complicated to begin with, because of the two combined images, so limiting my colour palette helps to take some of the decision making away. I paint only the visual information I find interesting in a window and leave out whatever I don’t. I find that I often put too much information in a painting for it to be visually pleasing to me, so I will always layer a very pale blue or yellow over the top until I have taken it back to a simpler, more contemporary image. My palette and my technique are designed to create a calm, quiet painting from which details will emerge the longer you look at it.”

Patches drawings are an extension of the Reflections paintings,” Hannah explains. “I see beautiful patches of light on crumbling walls, or bouncing around the rooms of my house as the sun comes up – the sunlight shining through leaves, through or reflected from the window, and projected onto a surface. Beauty shining everywhere, nature projected all over our buildings. Like reflections, they are ever changing and so fleeting, and I have to capture them before they disappear. I love the impermanence of them. They are like little flashes of joy.”

Alongside her paintings, Hannah’s particular love of drawing is evident in her Light Patches series of works, which explore the simple beauty of shards of sunlight thrown across a room. “My Light

This year, Hannah’s beautiful drawings have been selected for the prestigious Trinity Buoy Wharf Drawing prize for the third time. “First being selected for the Trinity Buoy Wharf Drawing Prize was wonderful,” she says. “I felt like it gave me permission to pursue my drawing practice, which I have always done for pleasure but never presented as finished pieces. My drawings of light are just little studies really, looking at the layering of the many colours that make up white light. I am always trying to get that sense of movement as the light flickers, yet with a calming stillness too.”

Hannah Davies at her Cornwall studio

‘Little Light Patch 15’

ABOVE ‘ It’s All About Light’

‘ Tiny Light Patch’

CREATE

For her Whitewater Contemporary exhibition, Hannah has created a new Reflections series of large-scale paintings inspired by places across the country, including Cornwall, alongside a collection of smaller Light Patches drawings, “all tied together” she says, “with a pared back colour palette, and hopefully the same quiet, calming feeling of light and hope. I would love my exhibition to leave viewers with a feeling of optimism and calm, and to draw people’s attention to ways of looking

at light and reflections that they maybe haven’t noticed before. As a painter I see so many small moments of beauty in the natural world every day, and I love to share those moments through my work.”

See Hannah Davies’ Featured Artist exhibition from 29th June to 24th July at Whitewater Contemporary, The Parade, Polzeath PL27 6SR.

whitewatercontemporary.co.uk

ABOVE ‘ Tree Tunnel’

And BREATHE

WORDS BY LYDIA PALESCHI

With a multi-million-pound spa renovation now open, St Moritz Hotel is making its mark as the epitome of beachside luxury and the ultimate wellness destination in the South West.

Nestled atop the cliffs between Rock and Polzeath, St Moritz Hotel stands as a hidden gem in one of Cornwall’s most stunning and sought-after locations. This exquisite resort harmoniously blends laid-back luxury with a Miami-inspired aesthetic, offering rooms that are both beautiful and functional. Now, with a £2+ million renovation of its spa, St Moritz is set to redefine the wellness scene in the South West. Open this month, the new facilities promise to elevate the hotel to the pinnacle of relaxation and rejuvenation.

The renovation, led by Steve Coombe of 3idog, has transformed the entire pool area into a sanctuary of intimate spaces

and ergonomic heated loungers, designed to provide the ultimate in warmth and comfort. The spa’s tiling features Italian rock and pebble-inspired flooring and marble white mosaics in the pools. The walls showcase vibrant blocks of colour, with lozengeshaped blush pink tiles complementing the overall aesthetic. Day beds, adorned with vivid fabrics in turquoise, coral, and sunshine yellows, add a playful touch, encapsulating the vibrant essence of Miami.

St Moritz have always prided themselves on their wellness offering, therefore it comes as no surprise that guests are able to indulge in a fantastic range of wellness experiences amidst these exquisite surroundings.

RETREAT

The high-tech outdoor hydro pool offers warm, therapeutic waters in an open-air setting, whilst the innovative crystal sauna and spacious steam room provide unique avenues for relaxation and detoxification. These hydrotherapy and steam room sessions will not only enhance skin health by promoting deep cleansing and improved circulation but also support overall wellbeing by relieving stress and muscle tension. Additional features such as drench and experience showers, an ice fountain, and ergonomic loungers complete this holistic sensory journey, integrating the principles of hot and cold therapy.

Also known as contrast therapy, hot and cold therapy offers numerous health benefits. The alternation between hot and cold treatments can improve circulation, reduce inflammation, and relieve muscle soreness. High-heat therapy helps to relax muscles and promote blood flow, whilst cold therapy reduces swelling

and can numb pain, together enhancing overall recovery and wellness.

The hotel’s unrivalled location, overlooking the waves of Polzeath, means guests can also enjoy the benefits of blue health, which emphasises the therapeutic benefits of spending time near water and the sea. Once considered a fad, spending time in blue spaces has since been proven to combat the stressors synonymous with modern life and is increasingly found in the arsenal of health professionals.

The new wellness space at St Moritz Hotel will enhance its existing Cowshed Spa, a distinguished facility originally launched in 1998 by the international private members club brand Soho House. Known for its inspiration drawn from the English countryside and its focus on the therapeutic benefits of botanical essential oils, Cowshed has become a signature spa

brand. The St Moritz location is unique, being the only Cowshed Spa outside a Soho House property and the only coastal Cowshed in the UK.

The Cowshed spa features six treatment rooms where guests can enjoy curated treatments by Cowshed, Medik8 and OTO, along with manicure and pedicure stations and a relaxation lounge. Cowshed’s products, crafted in England from organic ingredients and wildcrafted plant extracts, are available at Soho House locations and global beauty retailers.

In addition to its exceptional indoor wellness experiences, St Moritz features a vibrant Seaside Pool Club that enhances guests’ wellbeing through outdoor activities and relaxation. Central to this experience is the 16-meter biomassheated outdoor pool, which includes a children’s pool and is surrounded by beautifully manicured gardens, creating

a serene environment perfect for unwinding. Adjacent to the pool is one of the best standalone seaside restaurants in Cornwall. Here, guests can enjoy stonebaked sourdough pizzas, fresh-caught seafood, and local seasonal produce, all served informally with stunning views across the Camel Estuary and Stepper Point.

For those seeking more active pursuits, the club offers a full-sized sea view asphalt tennis court located beside the coastal villas, ideal for a friendly game. St Moritz is deeply committed to providing a familyfriendly environment that caters to all ages. During the summer, the outdoor pool becomes a hub of activity, complemented by the welcoming Mini Moritz children’s club, which offers daily activities such as scavenger hunts, rock pooling, and football on the lawn. In the winter, arts and crafts, cupcake decorating, and movie nights keep young minds and hands busy, ensuring every stay is enjoyable and enriching.

LEFT & ABOVE

Relaxation is effortless at St Moritz

By integrating these outdoor amenities with its wellness focus, St Moritz ensures guests enjoy a holistic relaxation experience, balancing physical activity with restful tranquility in a picturesque seaside setting.

The accommodation at St Moritz has been meticulously designed to enhance the hotel’s wellness focus, offering a variety of options to suit every taste and ensure a holistic relaxation experience. Luxury bedding, fluffy white robes, and Cowshed flip-flops and products add a touch of sophistication and comfort, enhancing the wellness experience and ensuring guests feel pampered throughout their stay.

For those seeking flexible accommodation, individual or interconnected room pods are available. Each pod includes a suite, a king room, and a cosy room, forming an apartment connected by a private hallway. These pods offer a contemporary villa ambiance, perfect for groups or families, blending privacy with communal spaces.

St Moritz’s accommodation extends further with coastal villas, 15 apartments, and an off-site house, ensuring every guest can find the perfect setting to unwind and rejuvenate All those staying have access to host of activites and facilities; a fully equipped gym, tennis court, ping-pong, croquet lawn and wellness facilities, to name just a few. There is also direct access to the South West Coast Path from the hotel, or guests are welcome to use the convenient e-shuttle service to nearby Polzeath, Rock, and Daymer, ensuring a relaxing break in an unbeatable location.

St Moritz Hotel is delighted to welcome Chef De Cuisine, Jake Arthur Grove this season. With a wealth of culinary expertise garnered from top establishments including the Michelin Starred Outlaw’s Fish Kitchen in Port Isaac, Jake’s appointment promises an elevated dining experience reflective of the region’s culinary heritage.

Aligning with the hotel’s wellness ethos, menus at both the Seaside Pool Club and the Shorecrest Restaurant are crafted to nourish guests. Chef Jake utilises the freshest seafood, locally reared meat and a variety of vegetables, letting the market dictate the daily menus which are based on ingredient freshness. For a relaxed, alfresco dining experience, the Seaside Pool Club is the perfect destination, while a new three-course menu at the Shorecrest Restaurant offers gastronomic delights complemented by St Moritz’s renowned impeccable service.

Guests can also indulge in Camel Valley’s award-winning wines, sourced less than 15 miles from the hotel, featured on a carefully curated wine list. Bar Manager Andy crafts a cocktail culture that transitions from light aperitifs to rich after-dinner drinks, adding to the culinary experience.

All of the St Moritz Hotel and Cowshed Spa options are available to book via www. stmoritzhotel.co.uk or by calling 01208 862242. The new spa facilities opened in June 2024.

stmoritzhotel.co.uk

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.

GrapeGRAIN vs

WORDS BY JAMIE CROCKER

A unique pairing of food and drink at one of Cornwall’s award-winning food festivals.

Rock-based Sharp’s Brewery has been a strong supporter of Cornish community events and festivals since its inception. The Sharp’s team are showing that 2024, the brewery’s 30th birthday year, will be no exception as they took to the stages and bars at the recent Porthleven Food Festival, to kick off their annual festival calendar.

This award-winning, three-day food festival is presented in partnership with acclaimed chef Jude Kereama, a great friend of, and collaborator with, Sharp’s Brewery.

On the Friday night Sharp’s beer sommelier Ed Hughes collaborated with Kattie Rosser, from Enotria & Co, for a special Grape Vs Grain night at Jude Kereama’s Kota Kai. On Saturday, Ed also took to the main stage in a three-way demo with Mick Smith of Porthminster Beach Café and Stephane Delourme of Stephane Delourme Gastronomic Adventures.

Jude Kereama, Porthleven Food Festival

Chef Patron, says: “As a community driven, free-to-attend three-day event we’re so thankful to all our sponsors, partners and supporters, including Sharp’s Brewery, who help make Porthleven Food Festival possible. Without their support we wouldn’t be able to bring together Cornwall’s foodie community to shine a light on brilliant culinary talent, local producers and suppliers and stimulate the local economy with the impact the festival now delivers.”

Arriving at the Grape Vs Grain evening we were curious to break with tradition and experience both wine and beer paired with food. The cured and blow-torched mackerel with pickled cucumber, sea vegetables, nasturtiums and a citrus dashi ponzu dressing was matched with Chalky’s Bite. This punchy ale came about when in 2006, Rick Stein challenged Sharp’s to create a Cornish beer with the character and quality

QUENCH

to stand alongside the Belgian greats. Named in honour of Rick’s famous little four-legged friend, this exceptional beer has since claimed multiple international brewing awards. It’s conditioned on a bed of three hop varieties and fennel seeds for up to 30 days to create its distinctive aroma and flavour. I savoured from a stemmed glass, as recommended.

Josper-grilled, hand-dived scallops accompanied by XO sauce and new season asparagus, were washed down with a glass of Offshore, a 4.8% Pilsner. This interesting tipple was inspired by the rugged north coast of Cornwall, where dedicated surfers chase the perfect waves when the wind turns offshore. The brewers at Sharps have balanced continental hops with Czech yeast to create a pilsner that is exceptionally clean and uniquely refreshing; as satisfying as catching that perfect wave. It certainly caught and brought out the full flavour of the scallops.

mouth of the Camel Estuary, this moreish amber ale is the brewery’s flagship.

When it came to dessert, there was much intrigue as to which beer would suit the dark chocolate, miso caramel tart with sesame ice cream. We were served a 2011 Quadruple Ale, coming in at a feisty 10%, which offered a full bittersweet fruitiness and warming finish, perfectly complementing the richness of the chocolate and caramel. Leaving with full bellies and a new-found respect for the sacred grain, our palettes were well and truly educated.

Soy master braised lamb shoulder fritter, Josper-grilled lamb, mint salsa verde, wild garlic with peas was being offered with Doom Bar. Inspired by the treacherous sandbank of the same name that lies at the

As Nick, Sharp’s Brewery’s Brand Activation Manager, says: “It’s so rewarding for us to support this type of event, bringing our beers, our experiences and our skills, mixed with creative spirit, to each brilliant happening. Across Cornwall, there’s such a deep interest in our top-quality food and drink scene. Our events and festivals offer an ongoing opportunity for our industry partners, chefs and friends to come together, to share their skills and favourite recipes and techniques.”

sharpsbrewery.co.uk

This

exceptional south facing villa comes to the market for the first time in 25 years.

Located in an easily accessible, yet quiet, area of the picturesque harbour-side village of Mevagissey, Polstreath House is a seven-bedroom residence that sits in an elevated position affording extended views over St Austell Bay.

Presented in very good decorative order throughout, retaining many of its original decorative features, it boasts a light-filled entrance hall, a grand turning staircase with doors leading to a slate, flag-stoned floored kitchen, stripped wooden floored dining room and double aspect 25’ long sitting room. Double doors open up to a timber conservatory which accesses a large patio. On the first floor there are five bedrooms and two bathrooms. Adjacent to the kitchen there is an internal annexe comprising reception room and two further bedrooms.

The large gardens and grounds, circa 0.55 acres in size overall, are laid out over a series of levels and terraces.

POLSTREATH HOUSE

Guide price: £1.75M

ROHRS & ROWE 01872 306360

info@rohrsandrowe.co.uk

rohrsandrowe.co.uk

A short drive from Padstow, this property offers the best for those seeking premium accommodation.

Situated near to the rugged north coast of Cornwall, just outside St Merryn and a mile from the stunning golden sands of Treyarnon Bay, lies this magnificent five-bedroom detached residence. Featuring a subtle contemporary design, the property boasts three acres of beautifully landscaped gardens, grounds and paddock. Tredower offers breath-taking panoramic views of the surrounding coast, Trevose Head and the ocean beyond. This rare market offering is a must-see and should be viewed at the earliest opportunity.

Dating back to the 1930s it has been comprehensively refurbished with the ground floor separated into three distinct yet free flowing areas, each benefitting from a sea view. The kitchen is sleek and highly contemporary while the living room benefits from an inset fireplace. Three first floor double bedrooms are complemented by two further en-suite bedrooms located on the ground floor.

TREDOWER Guide price: £2.25M

JACKIE STANLEY 01841 532555

sales@jackie-stanley.co.uk

jackie-stanley.co.uk

SPECTACULAR Simply

With stunning coastal views across Polzeath beach, this exceptional five-bedroom property leaves little to the imagination.

Designed with immense flair by Cassell Tarring Architects, Kai Tak stands proudly in the heart of this renowned UK surfing destination. Taking full advantage of its elevated beachside position, it offers magnificent views over Polzeath Beach and the Atlantic Ocean towards Pentire Head, as well as the rolling Cornish countryside to the rear.

This spectacular three-storey property combines incredible attention to detail with a high level of specification, creating an extremely luxurious yet comfortable house, with considered coastal lifestyle details and exceptional finishes. Wellappointed leisure facilities ensure it is the ultimate high-end family beach home and the ‘floating’ mezzanine above the living room features a vast floor-to-ceiling apex window, with superb views over the front terrace and out to sea. This five-bedroom, six-bathroom home boasts a generous open-plan kitchen/dining/family space from which you can access the large south-facing terrace with stunning countryside views. Complete with surf store, spa area, gym, TV room and two-vehicle car port, Kai Tak was made for beachside living.

KAI TAK Guide Price £3.25M

SECLUSION Tranquil

Nestled along the Camel Trail, this property is a picturesque haven for outdoor enthusiasts and nature lovers.

Situated in approximately seven acres and bordered by the Camel River on one side, the Dairy offers a tranquil rural retreat, and yet is only 15 minutes from Bodmin railway station.

Rich in history, it is a substantial five-bedroom residence that is flanked by a collection of three lovingly restored barns that currently provide a generous rental income as holiday lets, as well as an additional studio and outbuildings.

The main house is currently configured for multi-generational living. It has been extended and upgraded to incorporate 21st-century advancements while preserving the charm of the original building, as have the barns. Alongside these there is a dedicated laundry facility, a cabin – perfect for a home office – that features a wood-burning stove and a WC. The property also includes other facilities such as a greenhouse, polytunnels, potting shed, garden store and workshop. Additionally, it has fishing rights on the River Camel.

THE DAIRY Guide price: £1.95M

JACKSON-STOPS 01872 261160

cornwall@jackson-stops.co.uk

jackson-stops.co.uk

Representing THE FINEST

WORDS BY JAMIE CROCKER

Porthleven’s Customs House Gallery, is a calm space in which to appreciate a mixture of fine art, textiles, jewellery, sculpture and glass.

Stroll along Harbour Road, out from the centre of this little Cornish fishing village and you’ll eventually come to an oasis of calm. A place that celebrates the abundant talent that can be found in this part of the world. Showcasing pieces that have been thoughtfully curated by owners John and Louise Winterton it is a gallery that makes the most of its bright and airy setting. Walk in, and unlike a lot of its contemporaries, you’ll immediately feel that you have left the hubbub of the world outside, free to appreciate everything laid before you without being overawed by a cascade of competing artefacts. There is a synergy that somehow manages to connect all of the pieces, bearing testimony to John and Louise’s skill in bringing together various artists under one roof.

Established some 30 years ago by Bob Hood, he eventually passed the baton to local artist Heather Howe, who still exhibits her work here. About 12 years ago she too decided to move on to allow her to concentrate on her painting; it was then that John and Louise took the helm.

Their driving motivation is to present high-quality and original art in a friendly environment with a commitment to give artists a viable platform for their work. They believe a gallery should be welcoming, encouraging everyone to feel comfortable once they have stepped through the doors. Louise, in assessing their modus operandi says, “We feel strongly that each artist that we represent should always have work on display, rather than being hidden in

Rebecca Walklett – ‘Copper bowl with verdigris patina’

TOP Jake Boex – ‘Orange Bowl ‘

ABOVE

‘Foxgloves against a Silver Sky’ – Amanda Hoskin

ABOVE

Heather Howe – ‘The Lacey Gown of May’

TOP Jenny Sutton – ‘Coverack Slipway’

TOP

‘Last of the Light’ – Barry Wilson

ABOVE RIGHT

Karen Carlyon – ‘Bowl’

ABOVE LEFT

‘Preening Cormorant’ – Peter Boex

a cupboard for months on end between exhibitions. So, our walls and plinths are aesthetically curated to offer the best possible opportunity for our artists to have their works seen. We consciously steer away from presenting ourselves as an intimidating space.”

The gallery showcases a diverse range of styles to cater to their existing and new clients’ predilections, but there is an overarching homogeneous feel to the choices made by the couple. Resisting the dictates of the gallery’s location to mainline on seascapes and coastal scenes, they also feature landscapes and still life, with the latter being particularly popular currently.

The selection process is organic, with Louise and John often discovering artists during travels, both geographically and digitally. They aspire to create a curatorial balance, exhibiting a diverse range of artworks and artefacts that come together to create a cohesive display. This process aims to reflect the gallery’s unique vision while supporting artists and fostering a sense of community. The couple love to build close relationships with their artists, fostering mutual trust to ensure a successful partnership. As a consequence, they are fortunate to work with a fantastic group of people.

The gallery ensures constant representation for their stable of artists, affording them the advantage of the gallery’s high footfall. As well as being active on social media they maintain a comprehensive and dynamic e-commerce website. They also host year-round exhibitions, including group shows in 2024 that have featured a broader selection of work and larger pieces. Strengthening their appeal, they have also been a member of the Arts Council England funded Own Art scheme since 2015. This inspired concept allows collectors, both large and small, the chance to purchase original creations via an interest free staggered payment method, thereby spreading the cost over a period of time. This approach supports both the aesthetic and commercial aspects of the gallery, maintaining a balance, despite the increasing overheads that are the bugbear of many independent enterprises these days.

As well as maintaining the gallery and online presence Louise and John constantly keep an eye on industry trends by visiting other galleries, attending art fairs allowing them to keep abreast of movements within the art world. They recently responded to market challenges by organising an exhibition called ‘Collect,’ featuring small paintings by gallery artists, which received an excellent response.

As a consequence, they plan to make it an annual event, incorporating trends to suit their clientele and artists.

While they currently lean towards established artists, the gallery remains open to emerging creators who can add a unique dimension to the gallery’s offerings. As part of this approach, at the end of each year, they reflect on what has worked and plan for the next. This year, they are running group exhibitions with three artists, allowing each of them to show a wider range of work. Studio visits are part of the selection process, and deadlines are set to ensure timely updates to their website. It’s a rewarding exercise for both the gallery and participating artists.

Three featured artists, ones who fit neatly into the gallery’s ethos, include Ben Taffinder, who lives and works on the Roseland peninsula. Known for his distinctive use of a palette knife, creating unique textures, Ben studied sculpture at Falmouth College of Art and, after working as a lobster fisherman and commercial diver, returned to his artistic roots. He began painting en plein air in the landscape where he was raised. Andrew Barrowman is the second member of the triumvirate.

Based in Cornwall, he primarily paints with oils but eagerly experiments with various media, including charcoal, egg tempera, and casein paints. An enthusiastic plein air sketcher, he works outdoors in all weather conditions, capturing the play of light and tide as it plays upon the landscape. When not traversing the county, he can be found at his studio at Krowji, Redruth. Finally, there’s Phil Ward, who uses oils on canvas, employing bold brush strokes and palette knife marks to lay down images of land and sea, capturing their movement and energy. His studio is ideally nestled in the valley of New Mill not far from Penzance.

As for the future, Louise and John aim to continue enjoying their work and exposing as many people as possible to their artists’ creations. They are particularly excited about their upcoming group exhibitions, with the next one featuring Amanda Hoskin, Eric Ward, and Barry Wilson from June 29th to July 8th. More details on subsequent exhibitions can be found on their website along with what’s in the gallery at the moment.

cornwall-art.co.uk

INSET

Andrew Barrowman – ‘Morning Light, Porthleven Harbour’

ABOVE

Phil Ward – ‘Penzance in Yellow’

Where past PRESENT meets

WORDS BY JILLY EASTERBY

Preserving heritage and embracing innovation; an exceptional vessel with outstanding performance.

Cockwells Modern & Classic Boatbuilding, the Cornish boatbuilder whose HQ nestles alongside the banks of Mylor Creek near Falmouth, has long held a reputation for designing and creating sublime custom-built superyacht tenders that deliver on both aesthetic and performance, and push the boundaries of technological ingenuity.

The company is also the originator of Duchy Motor Launches – a sought-after, semi-production brand that combines polished styling and relaxed handling with modern luxury, processes and technology. Ranging from 21ft to 60ft, these stylish vessels can be customised to create a maritime experience that is unique to each owner,

whether sailing on lakes, canals, fjords or open water.

In 2020, Cockwells acquired the assets of Hardy Marine, an equally-respected brand of all-weather, all-location motor yachts, to expand its portfolio further, and the company continues to build on Hardy’s original, well-loved and respected designs and redefine them for the modern cruiser.

Cockwells is renowned for fusing advanced techniques and modern materials with intelligent design and exquisite craftsmanship and its all-new Hardy 50DS is no exception. Combining rugged design and outstanding performance to create the ultimate seagoing yacht for spirited adventures with

© Cockwells

© Cockwells

© Andrew Wright Photography

© Cockwells

© Andrew Wright Photography

© Cockwells

© Cockwells

© Cockwells

© Cockwells

family and friends, this striking explorer vessel combines the practicality and functionality of a go-anywhere cruiser with contemporary finishes, fittings and internal styling.

As well as delivering a superlative double-berth en-suite owner’s stateroom; two double berth guest cabins with shared heads and shower, a vest deck saloon and large protected cockpit area for reclining and dining, this recently-launched Hardy 50DS also includes the option of an expansive flybridge with an open helm and aft deck to enable al fresco dining beneath the stars, outdoor relaxation in the heat of the sun or an idyllic vantage point from which to admire the view. Twin helm positions and two galleys complete the onboard amenities to provide all the comfort and convenience of an on-the-water home from home.

capability to be expected from a Hardy Motor Yacht.

This impressive Category A explorer yacht can also carve through rough seas with ease and stability, as a result of its seaworthy semi-displacement hull, designed by eminent naval architect, Andrew Wolstenholme, and typifies the ocean-going

“The boats in the Hardy range are intended for serious cruising,” explains Andrew Wolstenholme. “Whilst an inviting interior is essential, hulls with excellent seakeeping characteristics and a comfortable motion are also a must. To that end, the 50DS uses a modified semi-displacement hull – the same hull as the well-proven Hardy 50 and an evolution of the earlier Hardy 42 – which received the ultimate accolade of being chosen by the RNLI for crew training.

“The fine bow cuts through the waves, allowing speed to be maintained in rough conditions and a steady ride for those aboard. With an optimum cruising speed of around 15-22 knots, this hull is perfectly matched to most skippers’ needs.”

As well as being an incredibly fast cruiser, with the capacity to reach speeds of up to 28 knots with its twin 725hp Volvo D11 engines, the versatile Hardy 50DS is equally happy sailing at 8 knots, offering efficient fuel economy over long distances. The Hardy 50DS utilises Cockwells’ innovative digital

© Cockwells

switching system with software that is coded and managed in-house. This enables all systems to be controlled from the helm with a simple touch of the screen – from the lighting, heating and windshield wipers to deploying the anchor. Wherever the vessel is located in the world, this intelligent digital system communicates useful data, such as battery condition and shore power status. It also allows the team at Cockwells to monitor the vessel remotely, if the owner so chooses.

The spacious flybridge incorporates an exterior helm, an outdoor galley, comprising an induction hob and mini refrigerator, and luxurious seating, which surrounds a bespoke table crafted from the material of your choosing – be it beautiful teak or practical composite. The helm offers seating for two, which enables you to pilot your boat in the open air.

Below deck is an enormous lazarette, which is perfect for stowing all sorts of water toys, such as paddleboards and wakeboards, as well as bicycles, outboard motors and ship’s store. A full-beam bathing platform with a telescopic swim ladder permits diving into the blue with ease and neatly accommodates the vessel’s tender for straightforward launching. A high-low bathing platform is also available as an option.

Making your way down the stairs, you reach the aft deck. This large, protected cockpit provides another location in which to socialise and take in the sights and sounds of your anchorage or marina whilst taking shelter from the elements.

Stainless steel handrails and numerous grab handles surround the boat, ensuring that the walkaround side decks are safe for all to move around freely. Plush seating pads can be affixed to the foredeck for relaxing in style as you cruise through the water.

The elegant interior of the Hardy 50DS perfectly complements the rugged exterior of the vessel with its contemporary style and airy feel. Just behind the wheelhouse helm is the large galley, which is fully equipped with Corian® countertops, an electric oven, induction hob, refrigerator/ freezer and an optional full set of custommade Hardy glassware and crockery. The generous, carpeted saloon can seat up to six guests for dining or act as a living

© Cockwells

space for relaxing at anchor. Travelling down below, past the convenient washer/ dryer, the owner’s opulent stateroom can be found, offering plenty of storage and hanging space. With a full-sized double bed, sumptuous mattress, separate ensuite heads and shower room plus a built-in vanity unit, this truly is the perfect place to rest your head after an exhilarating day at sea. Two further cabins with modern overhead lighting and storage space, as well as a shared heads and shower, complete the lower deck, providing ample accommodation for children or guests.

“Our new Hardy 50DS provides an exceptionally luxurious and safe environment for ocean crossings and longdistance voyages,” explains Cockwells’

“What’s more, the capacious layout of this model, with its optional flybridge, offers versatility for all members of the family, or a group of friends.

“At Cockwells, we respect the traditions of the much-loved Hardy originals but are proud to develop this respected brand for new generations to enjoy. The Hardy 50DS offers stylish, open-plan living to cater for family members at all stages of life and friends with varying interests, and as with our popular range of Duchy Motor Launches, we can customise your Hardy in any way you choose, to reflect your unique requirements, lifestyle and tastes.”

cockwells.co.uk

Founder and Executive Chairman, Dave Cockwell.

© Cockwells

Architecture & Interiors

SearchingSOLACE for

WORDS BY HANNAH TAPPING

Clare James, a Cornish-based surf, travel, lifestyle and documentary photographer and filmmaker turns to poetry to express her journeys.

Clare has always been inspired by the ocean and the way light moves in this field. “I feel lucky to have lived in Cornwall since 2009 working on a variety of photography and film projects for local businesses, artists and charities both inwater and on-land. Alongside which I try to raise awareness of environmental issues and solutions.

“I have been working with Odyssey Innovation for the past six years, who run a net and marine regeneration scheme for harbours and beach clean groups enabling marine plastic and ghost fishing nets to be recycled and turned back into products such as Handplanes, Net Bins and Kayaks. These kayaks are then used by individuals and groups such

as Clean Ocean Sailing to collect further marine plastic from inaccessible coves, this then gets recycled creating a fully circular system.

Clare enjoys telling meaningful stories with her work, often travelling to remote places in search of empty waves. She recently wrote a poem Searching For Solace, describing a surf trip to Scotland and the healing power of the ocean: “I am currently working on another poem about a recent trip to Ireland. Back in Cornwall, it is a privilege to be part of the Penzance Studios artist group, who exhibit my abstract ocean and landscape prints which are also for sale online.”

clarejamesphotography.com

Searching for Solace

BY CLARE JAMES

The first touch of light, stirring us from beneath the blankets.

Coffee brewing in anticipation.

Moorland graced by rainbows, a lone surfer, framed by a vibrant arch of colour. Etched in my memory.

Raw powerful swells, erupting along the shore.

Wind tearing at our wayward jackets. Swell lines sweep in, breaking perfectly onto unforgiving reefs and windswept beaches. Drawing me in.

Our trusty van providing shelter, from the insistent wind, We struggle into cold, soggy wetsuits.

Damp from yesterday’s session, numb fingers, pulling up hoods and fastening zips. The paddle out calls.

The rip running strong, whips us easily to the empty peak.

A-frames of glassy perfection, We paddle until our arms grow numb, breathless with exertion and excitement. Just one more wave.

The fire beckons, a cosy glow from the van guides me across slippery rocks. Darkness falls, the fire crackles, Toasty once again, satisfied from a long, invigorating session. Ready for tomorrow.

Solace was found, within the ocean’s tender embrace and along the lonely shore. The ocean heals.

A calmness descends, whilst watching eagles soar and otters hunt.

A new perspective forms.

the cuttingEDGE At

WORDS BY LYDIA PALESCHI

The use of innovative building practices sees a unique coastal property embrace a sustainable, sensitive and challenging design.

Perched on the coastal slopes of north Cornwall and overlooking the coastline leading to St Ives, lies Edge O’ Cliff. This multi-awardwinning architectural marvel, designed by ARCO2 Architects and constructed by Umbazi Builders, is an impressive example of innovative and sustainable building practices in a location that is equally challenging and picturesque.

Carbis Bay is celebrated for its beautiful sandy beach, clear waters, and scenic coastal views. Situated within an Area of Outstanding Natural Beauty, and close to a Site of Special Scientific Interest, it offers a unique blend of natural splendour and environmental importance, with the proximity of the South West Coast Path, enhancing its appeal. Edge O’ Cliff benefits from this exceptional location, providing a tranquil and scenic backdrop for a sustainable, luxury home.

constructed in the 1920s. A charming yet energy-inefficient structure, the property was also slowly slipping down the cliff towards the sea. Recognising the unrivalled location of the chalet, the decision was made to replace it with a new, modest three bedroomed house. With it being a locally significant, highly visible and environmentally sensitive site, it was crucial to create a new property with not only comfort, but also sustainability and aesthetic harmony in mind.

The original house at Edge O’ Cliff was a three-bedroom wooden chalet

With unique opportunities come unique challenges and the construction of Edge O’ Cliff was no exception. The site is accessible only via a steep, stepped, winding coastal footpath that crosses a pedestrian railway line, presenting a significant logistical challenge. The utilisation of conventional construction techniques was out of the question and there was no site access for vehicles or construction machinery. The only option was to ensure all building materials were small and light enough to be transported down the footpath by hand.

SUSTAIN

Using innovation, determination and a significant dose of passion, ARCO2 and Umbazi embraced the challenge with a meticulous approach from the outset. Working together from the early design stage, they adopted a ‘stick-built’ twin wall timber frame construction method using locally felled Douglas fir. This method allowed for small pad foundations, which required a modest amount of excavation and reduced the need for concrete. Together, this minimised the environmental impact on the site and the surrounding landscape whilst also providing a solution to the logistical challenges.

Deconstruction of the original chalet provided critical lessons in sustainability for both the design and the building teams, particularly when it came to the use of materials. Whilst the team salvaged useful materials from the original chalet, ensuring a sustainable and resource-efficient build, they also encountered various non-biodegradable and non-recyclable materials such as UPVC windows, plastic corrugated sheeting, bitumen felt, asbestos roof coverings, plastic pipes, nylon carpets, fibreglass, and foam insulation. These materials, introduced during later modifications, had to be painstakingly transported back up the coast path and disposed of responsibly, reiterating the need for sustainable material choices in modern construction.

With the project taking over two years to complete, a significant investment was made in a scaffold tented over-roof to maintain a protected working environment throughout the construction period. This tent also allowed locally sawn ‘green timber’ including Douglas fir and oak to air dry on site for six months before being used, ensuring they were of optimal condition for quality building.

Formed in 2003 to specialise in sustainable and healthy buildings, all of ARCO2’s designs are made with sustainability at the forefront. Their name –derived from ‘architecture’ and ‘CO2’ – is a constant reminder that reducing carbon emissions through design is at the core of what they are trying to achieve. Each of their ten members of staff has hands-on building experience in creating some of the most sustainable properties in Cornwall. This forward-thinking approach has led to a well-earned win in the Carbon Reduction Impact Category at the CABE Built Environment Awards 2024 and ARCO2’s recognition as one of the leading architecture practices in the southwest.

The project at Edge O’ Cliff exemplifies ARCO2’s use of Passivhaus design principles, which set a new standard in energy efficiency and sustainable luxury living. Originating in Germany in 1996,

Passivhaus design maintains a nearly constant temperature through superior construction, insulation and ventilation, requiring minimal additional heating or cooling. Edge O’ Cliff boasts U-values and air pressure test results which surpass Passivhaus requirements.

Other features designed for energy efficiency include triple-glazed timber windows, cellulose fibre insulation, and a twin-wall timber frame using locally sourced wood. Innovative water and energy systems include sub-metered cold supplies, small bore hot water systems, and a whole-house MVHR with electric underfloor heating and a high-efficiency wood stove. Solar thermal tubes and a photovoltaic system have been installed to enhance energy generation. Meanwhile, landscaping by an ecologist, featuring indigenous plants and Cornish stone hedging, helps to seamlessly integrate the house into its natural coastal environment.

The owners commented: “Poor access, coastal location and ex-mining areas are normally enough to send most people running but none of this impeded our vision of creating the final outcome… This was no ordinary project but something very very special. The result is a house which exceeded our expectations in every sense. Easy to use, low maintenance, very low running costs, and practically every small detail thought through. The overriding style was driven by function but somehow managed to produce a unique quality which is so rarely found in construction.”

“We started the project with a sense of responsibility to build a house that would do justice to the very special location which is held dear to ourselves and an enormous number of visitors as well as local residents. The result was met with absolute admiration not only for defying the obvious technical challenges but for a timeless build which sits peacefully next to the SSSI within an Area of Outstanding Natural Beauty.”

There is no doubt that the new Edge O’ Cliff offers an attractive blend of functionality and aesthetic beauty. It is a property which firmly lives up to modern standards of comfort and efficiency whilst also resonating deeply with its natural surroundings. The result is a timeless piece of architecture, which sits peacefully within its environmentally sensitive context.

Described as “a tour de force in sleek, simple, design”, it is a building that is not only admired for its seamless integration to the landscape, but also for simply being there. Its sustainable, sensitive and innovative design is reflected in the many awards ARCO2 has won because of it. The best part is that Edge O’ Cliff and this precious corner of the world can be enjoyed for generations to come, without compromising the needs of the future, making it an exemplary example of sustainable design and high-quality architecture in Cornwall

arco2.co.uk

Shaping Surfing 1965Since

WORDS & IMAGES BY MAT ARNEY

“

With every pass of his sanding block over the foam blank, surfboard shaper Markie Lascelles of Cord Surfboards adds to a multi-generation six-decade long story that spans and spearheads British surf culture.

This was my Dad’s shaping bay,” he says, having removed the dust mask from his face to talk. When this old mine site was regenerated by the council and turned into workshops in the early 90s, he and [leading marine environment charity] Surfers Against Sewage were the first two residents. There’s been a surfboard factory here ever since, and SAS are still next door.” The surfboard factory at Wheal Kitty, on the cliff top above Trevaunance Cove in St Agnes also counts Finisterre as their neighbours – the place has quite the saltcaked buzz about it.

a longer tradition of wave riding in Britain that can be traced back over 130 years, stand-up surfing didn’t get a foothold until the early 1960s. Whilst that makes standup surfing of almost pensionable age in the British Isles it is still by comparison against other activities, or even against surfing in other parts of the world, fairly fresh faced.

Cord Surfboards and the Lascelles family have deeper roots than that though, which in British surf culture is rare. Whilst there’s

Whilst surfing was being introduced to Britain in the 1960s, it was already well established in Australia (it was in fact Australian lifeguards who brought the first foam and fibreglass surfboards over when a group of them came to work a summer in Newquay). On Queensland’s Sunshine Coast brothers David and Peter “Chops” Lascelles, Markie’s uncle and Dad, were coming

CREATE

of age and in 1965 elder brother David, known to most as “Humphrey”, persuaded their parents to help fund a surfboard factory in their hometown of Caloundra. “A bunch of Uncle Humphrey’s friends worked at another surfboard factory, and the story goes that in 1965 they either quit or were fired, so they got together and started Cord Surfboards.” That part of Australia at that particular time was a hotbed for surfboard innovation, and Cord Surfboards was at the centre of it. One of their shapers Bob McTavish and Californian friend George Greenough are largely credited with the Australian branch of the 1967 “Shortboard Revolution”’ that saw the long and heavy surfboards of the time cut down in length in the pursuit of manoeuvrability and getting closer to the curl of the wave – the foundations for modern high performance surfing that we see today.

whose Dad was the landlord of a pub in Perranporth and he’d told him he had to visit, so he headed here in 1972.” Markie’s Dad was still at home in Australia but in 1975 after the death of their father, he flew first to Hawaii, then California, arriving finally in Cornwall in the spring of 1975 with his girlfriend Mary arriving not long after. “Mum and Dad clicked with Cornwall, and they decided to stay, settling here and having the three of us.”

Through the 1970s Cord Surfboards was put on the back burner as the brothers travelled the world in search of surf. “Somehow, they ended up in Cornwall in the early 1970s” Markie says. “Uncle Humphrey had been in Morocco surfing perfect uncrowded waves for over a year before the authorities kicked him out. He’d met a surfer from Cornwall there

Markie and his two elder brothers grew up in St Agnes in the heart of the vibrant surf scene that surrounded their Dad, Chops. “Dad had loads going on. He was still really well connected in Australia so was the first to bring all the new developments over here, like the Thruster surfboard design that has been the standard since the early 80s. He shaped surfboards under his own label and for some Australian brands, and he brought first Rip Curl and then Billabong to the European market, as well as competing and coaching.”

“I discovered a place where my soul was happiest and I was fortunate to be here when surfing was in it’s infancy right through to the modern sport it is today. I had some great times, had some great waves

and met some great people along the way… it’s been one hell of a ride!” said Chops.

All three Lascelles boys, Sean, Brennan and Markie, inherited their Dad’s gift for surfing, but it was the youngest Markie who got his skill with a planer and a sanding block. Just as his dad had learned by osmosis from the older guys at the original Cord Surfboards factory in Calloundra, so Markie absorbed a lifetime’s knowledge from Chops and all of the visiting international surfers and surfboard shapers who visited or stayed to work in St Agnes. In 2013, when Chops suddenly and tragically passed away, Markie and eldest brother Sean took on the business and Markie became head shaper.

Alongside Cord, Chops also had his own Cornish surfboard label, Beachbeat, and was the UK distributor for surfboard making supplies, such as Arctic Foam from the USA. But those businesses were only the paper part, and Markie also took on the strong interpersonal relationships that his Dad had developed both at home and overseas, including the West Coast of Ireland.

in Ireland are hand delivered by Markie several times each year, also using it as an excuse for a surf trip and to visit friends.

For many years, Cord Surfboards remained on the Lascelles’ family backburner. If somebody ordered a really special and unique board from Chops he’d put a Cord logo on it, but otherwise Cord was saved for special occasions. Markie and Sean knew though that the heritage of their family business was priceless, and that they were producing premium surfboards that were worthy of the Cord label every day, not just when somebody ordered a surfboard with all the trimmings. They made the decision to breathe new life into the brand and to give it the energy and attention that they felt it deserved.

Over the past decade Markie and his brothers have returned to Ireland many times, forging their own friendships. To this day most surfboards that they sell

“We grew up with Cord Surfboards – my brothers and I used to pull old Cord boards out of mum and dad’s shed and surf them when we were small. It would have been easy not to have seen the wood for the trees, but that heritage is hard to miss. There aren’t many surfboard brands with that much history, and fewer still that are in the same family. We want to honour that legacy,” explains Sean.

It would have been very easy for Cord Surfboards to have been reshaped as a

CREATE

heritage brand, offering classic longboards and “retro” style surfboards. Resting on the past is not in the DNA of the Lascelles family, nor of Cord Surfboards, however. The business may be six decades old, but it was progressive from its inception and every custodian has been at the cutting edge of surfing and surfboard design. Cord had to come back in the same spirit; classic and with a focus on craft, but stepping firmly into the future. With the creation of The Ark model, they did just that.

The Ark was designed with and for Australian surfer and ex-pat Noah Lane, specifically for the steep, fast and hollow waves close to his adopted home in Ireland. Noah is a stand-out surfer from Queensland’s Sunshine Coast, close to where Humphrey and Chops grew up. He settled in Bundoran on the West Coast of Ireland, attracted by the area’s worldclass waves. Markie has been shaping his surfboards for many years, and in the autumn of 2017 created The Ark model for him, Cord’s current bestseller.

“Noah and I were chatting boards and starting to get amped for the winter swells. We had a very trusty 6’4’’ template that he had been riding for a few winters. It was a fairly standard step-up for bigger and more powerful waves, which was Noah’s go-to. However, as is normal with surfboards, we always ask each other the question; “What else can we do?”

Inspired by a recent clip they’d both seen of Australian Torren Martyn surfing a twin-

finned pintail surfboard with channels running along the bottom of the tail at a hollow reef break in remote Indonesia, they took that concept and created a design specifically for the waves on Noah’s doorstep. And it flew. Noah’s Ark is no one-trick pony though, and many surfers have adopted the model as their go-to in a huge range of conditions, not just the sorts of waves of consequence in which Noah tests them.

Now, twin fins such as the Ark or Markie’s modern interpretations of the classic fish, the Flying Vee or the Humbucker, are a significant part of Cord’s offering. The channel bottoms on many of their surfboards are a feature that take time and skill to execute, and few surfboard factories in the UK have such a team of craftsmen across every stage of the surfboard manufacturing process to deliver them. There is time served on that team, and whilst shaping, glassing and sanding channels adds hours on to each surfboard, it is a feature that many surfers are demanding and they are turning to Cord as a centre of excellence.

To add to the skill of the team at the Cord Surfboards factory, this spring Markie took delivery of a brand new state-of-theart surfboard shaping machine. His Dad Chops had been one of the first shapers in Europe to embrace this technology in 2006, and many Cornish shapers have had their surfboards cut on that machine over its 17-year tenure. “The machine uses computer files to cut the outline and

© Maddie Meddings

foil of each surfboard, ready for the shaper to fine tune, template and shape the allimportant tail end, and fine sand.” Markie explains. “It basically takes away a load of the time and less-skilled labour roughing out the surfboard from the foam blank, and it’s so, so, accurate.” Having spent the last few years nursing the old machine along whilst trying to keep up with demand, Markie decided it was time to invest and update. The new machine is one of the most advanced in Europe, keeping Cord Surfboards at the absolute top of the game and matching the machine to the calibre of the craftsmen who built upon those foam foundations.

Alongside consistently pushing the boundaries of surfboard design and performance, with his surfboards being tested in the most demanding of conditions by a team of professional surfers including Irish big wave surfer Conor Maguire and multiple British women’s champion Lucy Campbell, Markie is also pushing surfboard materials in a more positive direction.

“In spring of 2023 we achieved Gold Level Ecoboard accreditation from Sustainable Surf.” Markie recalls. “Over the last few years Arctic Foam had been developing a surfboard foam made from a majority of organic sources – firstly using algae oil and then eventually a nutshell oil. I’d been testing these new bio-blanks to make sure that they were as durable and had the same performance characteristics as regular surfboard foam. From the first batch

that I shaped, several went to Noah in Ireland, six were made for our neighbours Surfers Against Sewage to surf and use as placards at demos and paddle-outs, and one was made for Surfers Against Sewage co-founder Chris Hines who as actually one of the first people to coin the phrase “EcoBoard” and push for planet positive developments in surfboard materials whilst he was sustainability director at The Eden Project. It was quite the order book!” With professional surfers on the Cord team such as Noah and Lucy who both champion sustainability in surfing, these gold level EcoBoards made using foam and resin with majority bio-content are proving that performance no longer needs to have a price for the planet.

Cord Surfboards could easily rest on their heritage. They choose instead to build on it. From their factory on the cliff top above Trevaunance Cove Markie Lascelles continues to keep Cord and Cornwall at the cutting edge of surfing, informed by and respectful of the family firm’s roots whilst stepping and surfing boldly into the future.

Cord Surfboards stock models are available to purchase or order from their showroom at Wheal Kitty, St Agnes, or online from Cord Surfboards or Boardshop.co.uk, or contact Markie to discuss a made-to-measure custom Cord surfboard.

cordsurfboards.com cord_surfboards

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

FREEDOM Controlled

WORDS BY MARTIN HOLMAN

“I like to work with pure process,” says Beatriz Milhazes, one of contemporary art’s most sought-after figures.

As one of the most successful artists at work today, Beatriz Milhazes says “Nothing is there by chance,” A painter defined by her distinctive technique, she combines acrylic paint with aspects of printing and collage. Her ideas about form and colour merge the characteristics of postwar abstract art with a deep desire to acknowledge the folk and popular cultures specific to her country, Brazil. The result is complex interweaving of geometrical images into a coherent style based on highly structured patterns. A selection spanning almost 40 years makes up her current retrospective exhibition at Tate St Ives.

“My approach is very rational,” she stresses, pointing to the repertoire of motifs – circles, dots, stripes and graphic emblems superficially reminiscent of the wingding fonts found on computers, but in reality, incomparably far more resonant. These shapes have recurred over years of production. Distilled from the abundance of natural and man-made traces she sees in her surroundings, they never seem to be repeated. Arrangements vary as experiences accumulate; new

PREVIOUS

‘Leblon 3’, 2004. Thomas Dane, London. Photo Eduardo Ortega. © Beatriz Milhazes Studio

formulations in vibrant colours appear to alter their appearance.

Unlike many prominent and productive artists constantly in demand for shows and collections around the world who have multiple workplaces, Milhazes has only one studio. A generous-sized building but by no means huge, it is located in her native city, Rio de Janeiro. A walking distance from where she lives, it is nonetheless important to her that work is separated from home life.

Once she arrives at the studio, her attention is turned away from the world outside its windows. Her focus is trained on the canvas. The first decision at the start of a new work is its size, then whether the format will be horizontal or vertical. The surfaces she tackles are seldom small-scale: the earliest canvas in this exhibition measures six feet tall by almost as wide. It is one of the smallest pieces on display.

Yet it has a special significance for this artist. Made in 1989, ‘Eu só queria entender por que ele fez isso’ (“I just wanted to understand why he did that”) marked a new and propulsive way of working. Previously,

ABOVE

‘Banho de Rio’, 2017. Tate. Presented by Ivor Braka, White Cube Ltd and an anonymous donor 2019.

© Beatriz Milhazes Studio

TOP RIGHT

‘ Maresias’, 2002-03. Thyssen-Bo’rnemisza Art Contemporary Collection. Photo Fausto Fleury. © Beatriz Milhazes Studio

TOP LEFT

‘ Eu só queria entender por que ele fez isso’, 1989. Ivor Braka Ltd. Photo Phillips de Pury. © Beatriz Milhazes Studio

she used a rigid geometry, such as grids, to divide up her surfaces in an architectural fashion that echoed the geography of her urban outlook. For several years, artworks were assembled by collaging pieces of fabrics she found into a composition that borrowed other makers’ designs.

By contrast, the loosely vertical stripes in this canvas suggest the swing and sway of textiles. Hand-painted blue, star-like flower heads of her own invention alternate with bands of a wine red colour in a strong repeated pattern that includes overlapping and layering. Ways of making jostle with a strip of decorative lace fixed to the surface with the conviction of a manifesto. The different elements seem to set a pace, as in the irregular rhythm of a curtain swaying in a draught.

In language, metaphors help to describe impressions. The visual equivalent occurs here with her allusion to fabric. Immediate and obvious as a reference, it adds to the

exalted practice of painting a popular dimension drawn from Brazil’s rich tradition of applied art. This picture, however, is not about specific objects but their character. In the same way, the intriguing title offers no narrative clues to meaning; it may have no relevance beyond sharing a mood – or distinguishing one canvas from another.

For abstract painting is its own universe: the artist feels free to capture shapes from any source that interests her and reinvent them. Her aim is to build anew from the mix and to attract the viewer’s imagination to explore the strikingly intricate framework she constructs. Since 1989, instead of painting directly onto canvas, Milhazes has built up surfaces with synthetic abstract forms that she searches out or creates. Painted onto plastic foil sheets, she applies them to the canvas and waits until the paint is dry to pull them off. The sheets are never part of a painting; they are stored, reused and added to. But they leave a residue of flat acrylic colour, sometimes with a metallic sheen that energises the transferred shapes.

The effect is curiously urban and inexpressive, like a street billboard. Motifs can be repeated exactly and layered on top of a ground textured with a combative, abraded quality, like a wall exposed to wear and the sun that passers-by might scrape or write on. Space is reduced to a single integrated zone within which exuberance abounds in colour and line. Which is on top is indistinguishable from what lies beneath. Yet, as with any long-lasting structure, nothing is random. Apparent, too, is a high level of order, a fusion she paraphrases as “geometry overlaid by imagination”.

TOP

‘O sol de Londres’, 2003. Private Collection, London. Photo Sid Hoeltzell.

© Beatriz Milhazes Studio

CREATE

This method is unusual and patently her own. As unique to the artist as her voice, like any language, it has evolved its vocabulary to communicate thoughts between the painted surface and her audiences. The intricate layered patterns in ‘O Diamante’ (2002) unfold along its 12-foot length. They are not easily described other than in broadly graphic terms: circular formations and extravagant tones, especially the reds and radiant yellows that take on a metallic sheen from the transfer process.

Milhazes refers obliquely in her abstract images to the world that surrounds all of us. For her, the city and its atmosphere of hustle and bustle and cultural hybridity is ever-present. So is landscape, the Tijuca forest and the Atlantic ocean. Contact with real nature is essential. Her studio is adjacent to the city’s botanical gardens, where exotic greenery and luscious blooms spill over pediments and enclosures, and it is not surprising that plant shapes are cited in her motifs.

While these locations are not her subjects, she is concerned to stimulate feelings known to her audience by being in those contrasting environments. Clashes occur between forms and colours as often as connections are made, with stop-start and push-pull motions that spur the eye to travel these surfaces. Her means belong entirely to art’s gift for transforming material into experiences that go beyond objects and places to touch nerve-endings and emotions.

One example accompanies the title of the exhibition at Tate St Ives. ‘Maresias’ is the soft ocean breeze of the artist’s

beach neighbourhood in Rio. The name also belongs to a small Mediterranean wildflower. Both associations can be imagined fitting retrospectively the painting to which she gave the same name (2002-3). The picture revels in decorative patterning; its free chromatic geometry generates a dreamy effect in the mind’s eye. Starbursts of colour and line erupt at multiple intervals in ever-advancing layers.

Such mesmeric phenomena, however, are not the sole function of her work. Milhazes’s sophisticated brand of abstraction is multi-dimensional, channelling profound metaphors from diverse sources. Abstract art has a reputation for objectivity, a cool mathematical quality that transcends borders and personalities. This artist’s motifs, colours, technique go beyond that definition into also being a distillation of what Brazil entails.

A hybrid nation formed of numerous indigenous ancient cultures blending with new immigrant communities and foreign traditions, the country’s diversity and drive, turbulence and discontinuities are folded

Beatriz Milhazes. Photography by Vicente de Paulo © Beatriz Milhazes

TOP

‘O Diamante’, 2002. Contemporary Art Collection _la Caixa_ Foundation. Photo Vicente de Mello. © Beatriz Milhazes Studio

ABOVE

‘ Mel’, 2010. Private Collection, UK. Photo Sid Hoeltzell. © Beatriz Milhazes Studio

into emblems that express them. That aspect is the hardest for foreign viewers to trace; once located, however, new awareness follows. What’s more, that approach places her in a century-old practice alongside several generations of Brazilian writers, philosophers and artists.

For Milhazes, compositions take shape while being made in the studio. As a rule, she does not make preliminary drawings (although, like all rules, it can be broken in exceptional circumstances, as happened during the pandemic). She relies on the inspiration of the moment to move her forward through a sequence of decisions that affect where line and colour are deployed.

She talks about unleashing “a chain reaction”, a scientific term not out of place in this environment. In ‘Maracorola’ (2015), dots, stripes, diagonals and looping arabesques suggest machinery, a notion the vibrant colour refutes. Dance comes to mind, although the design excludes the body as Milhazes’s art is never figurative. The property it exudes, however, is energy – the motive force linking man, machinery and, supremely, nature.

Speaking to a writer in 2018, Milhazes said “Colour is a way for me to create contrast, drama, and mystery. Every work I create is a mathematical dream and colours are a way of emphasising that.” Colour is her principal medium. From time to time, it implies the sun or the sea, but never directly represents them. Another medium is repetition, which regulates her abstraction like the beat in music. It allows her to instinctively incorporate allusions to designs and practices in the folk and popular cultures that mean much to her, as a woman and as a Brazilian.

Through memory and observation, Milhazes taps into the ardour that fuels Carnival and the immense labour, especially by women, devoted to its celebration, which almost has the status of religion. Ideas for marks derived from stitching, pattern and surface touch upon hand-made production in villages and homes. Pearl shapes in her paintings evoke that source as well as the rosary of ever-present Christianity. Yet these metaphors of activity are never static or reverential; importing their energy into her work, they become avenues of creation as ingredients in a new, voracious mix.

Milhazes grew up in a country undergoing considerable change. A radical wave of cultural growth swept through music (the bossa nova), film, theatre, writing, visual art and architecture from the late 1950s. The new federal capital of Brasilia was inaugurated in 1960 as a masterpiece of modernist architecture and artistic planning. Her parents identified with the modern pulse so that when a military coup in 1964 gradually snuffed out that spirit while Milhazes was growing to adulthood, they encouraged debate and questioning in a creative homelife where the arts were followed closely.

The family’s house hosted artworks that imbued Milhazes and her sister with a sense of art’s traditions and its centrality to emotional growth and learning. (Her sister became a dancer and the two later collaborated with Milhazes making her first sculptural pieces.) Aesthetic influences from Europe remain strong, drawn from Matisse paper cut outs to the optical illusion and geometric abstraction of Bridget Riley. The political influence of ideas shaped in the counter-culture of the 1960s is signalled

from time to time in her work, such as when the broken cross logo of CND appears among her circular motifs.

The global success of her career has helped in the international discovery of compatriot artists from previous generations who inspire her. One example is Tarsila do Amaral, a trailblazer for modernism between the world wars, with a pictorial vision of nature as unreachable and mysterious but lyrical, qualities inherited by Milhazes.

Although she has spent time in New York and Europe, and visits Pennsylvania regularly to make prints, Milhazes was always reluctant to settle abroad, as many of her contemporaries had done. With the decline of the dictatorship, she was keen to help ‘restart’ her country, becoming prominent in Geração Oitenta (“Generation 80”). This loose grouping of makers articulated with colour and painterly expression the popular optimism anticipating the return of democracy, which occurred in 1985.

She travels frequently and the show at Tate St Ives is just the latest in an international career that since the pandemic alone has seen her present solo projects in Berlin, Margate,

New York, São Paulo, Vienna and Shanghai. Like everyone else on the planet, however, the Covid 19 emergency grounded her. Locked down in her house, she could not go the short distance to her studio.

So, she adapted her methods, took up paper and acrylic markers, and made small sketches. “It was very welcome,” she says, “because I discovered a different way of experimenting, an openness.” Its impact has percolated into her latest canvases. In ‘O desfile de leques I’ (‘Fan Parade I’), 2023, quilt-like sectors of transferred pattern combine with rhythmic strokes applied straight onto the canvas in wave-like formations, organic shapes intersecting with the fragmented geometry of pure abstraction.

Milhazes has to make art. Prolific and organised, she will work around any obstacle to feel the freedom of fertile creativity. “I like to work with pure process,” she says. “It brings interesting things to me.”

Beatrix Milhazes: Maresias continues at Tate St Ives until 29 September 2024. All images courtesy Tate St Ives 2024 © Tate.

tate.org.uk

ABOVE ‘ Maracorola’, 2015. Ivor Braka Limited. Photo Manuel Águas and Pepe Schettino. © Beatriz Milhazes Studio

Eventide

WORDS BY SARAH DOUGLAS

Imoved to Devon to become a dog walker. At least that’s what I thought. I had spent many years as a sales director in London’s frantic property market, and the South Hams lured me in with the promise of a steadier way of life amidst its rolling hills and sandy coves. I’d work a couple of hours each day, walking a handful of (always well-behaved) pups in pretty villages, then disappear to the nearest beach with a book and my own two Westies. I will let you guess how that one worked out…

Fast forward six years and I have been the Managing Director of Marchand Petit for almost a year, having spent several years before that heading up our Kingsbridge office. Devon may have lured me away from London, but the pull of property was too strong to leave behind. I shelved my dog walker aspirations faster than you can say “fetch!” and have found myself totally immersed and excited by the South Hams property market instead.

This part of the world is unique and those who buy here are too. Some are following similar footsteps to my own,

desperately seeking a quiet life by the sea. Some bring their jobs with them, the era of being able to work from anywhere now meaning you can close your laptop at 5pm and have your toes in the sand by 5.30pm. Some bring small children, and some have grandparents in tow, granny annexes living up to their name as young families opt for multi-generational living to help make the day-to-day juggle more manageable. Some are retired, finally returning to the place they’ve dreamed about calling home since they were knee high to a grasshopper.

Everyone who feels the pull of the South Hams is different, but they all share the same desire for a different way of life; one of sea dips after the school drop-off on a Monday and beach picnics on a Sunday. Jumping on a boat to a pub up the estuary happens on a very ordinary Tuesday evening, and somewhere to store sandy wetsuits and wellington boots becomes a non-negotiable on house hunts. Selling homes here is a world apart from selling them in London and I wouldn’t have it any other way.

marchandpetit.co.uk

INSET

Sarah Douglas

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