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
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A JOURNAL FOR THE DISCERNING
On the cover
Photography by Tia Levitan for he ustainable ar room as featured from age . ost y sustainabledarkroom.com
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Ben ratchett –ben.pratchett@enginehousemedia.co.uk
Chairman & Founder
ndy orster –andy.forster@enginehousemedia.co.uk
Editor
Hannah Tapping
hannah.tapping@enginehousemedia.co.uk
Creative Designers
Spencer Hawes amie roc er
Finance & HR Manager
Charlotte Forster
charlotte.forster@enginehousemedia.co.uk
Credit Control
racy art –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 ri 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 urchasing or considerations over any financial decisions. ngine 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
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Foreword
In the quiet margins of human experience, where memories drift li e sea- orn fragments and creativity ebbs and o s as if on a tidal current, there exists a landscape of storytelling that transcends the ordinary. Every word, every mark, every brushstroke, every carefully collected moment is a testament to the intricate tapestry of human expression. Art is not merely an object to be observed, but a living, breathing narrative that pulses with the rhythms of individual and collective memory, creating a delicate threshold where personal histories intersect with creative practice, where the seemingly mundane transforms into something profound and luminous. Imagine, a eathered s etchboo filled ith ressed o ers, fragmented sketches, whispered annotations. Imagine snippets of conversation, half-remembered dreams, the subtle textures of lived experience captured not
just in words, but in the very materiality of creation. hotogra her, mily arris ca tures the oetry of peripheral moments through her lens, turning her focus to heritage crafts eo le in marine-related environments. Ceramicist, Christina Feltham’s sim le forms emit smo y shado s ith glints of colour, inspired by the ever-changing sky and its ocean re ections, translate emotional landsca es into colour and form. This ongoing conversation, a collective mapping of the inner worlds that shape our understanding of creativity, memory, and connection, is picked up in conversation with sound artist ustin Wiggan . hrough his sound art, and the sonsopheres creates, he encourages people to investigate their relationship with the world. This is the essence of the coming pages, a celebration of the ephemeral, the personal and the deeply observed.
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Providing life changing opportunities for young people across the UK www.diveprojectcornwall.co.uk
Martin Holman
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SALE AGREED
SALE AGREED
PORT NAVAS | SOUTH CORNWALL
ST MERRYN | NORTH CORNWALL
MEVAGISSEY | SOUTH CORNWALL
DUPORTH | SOUTH CORNWALL
MEVAGISSEY | SOUTH CORNWALL
WADEBRIDGE |
Substantial Detached Bungalow with fascinating far reaching views of the
ocean & Trevose Head
Lamorna | Trevone | PL28 8QR | £1,495,000 guide
Quietly situated at the end of a tranquil, sought after cul-de-sac above the beautiful & revered beach of Trevone Bay is Lamorna, a substantial detached single storey dwelling extending to approximately 3,000 square feet of versatile accommodation. Soak up the outstanding far reaching views across the surrounding countryside, to Trevose Head and the Ocean beyond from the principal living room and tranquil private gardens.
GUNVER HOUSE | NR PADSTOW | GUIDE £835,000
AN IMPRESSIVE NEWLY BUILT, 4 BEDROOM, FAMILY HOME WITH A SPACIOUS GARDEN, PRIVATE PARKING AND ROLLING COUNTRYSIDEVIEWS SITUATED JUST OUTSIDE OF PADSTOW.
23 PASSAGE STREET | FOWEY | OIEO £690,000
A BEAUTIFUL THREE-STOREY PERIOD TOWN HOUSE OFFERING BREATHTAKING VIEWS OF THE SERENE RIVER FOWEY AND THE CHARMING VILLAGE OF BODINNICK WITH A LARGE TERRACED GARDEN.
TRERHOSE | MULLION COVE | GUIDE £1,250,000
AN ATTRACTIVE PERIOD RESIDENCE WITH VERSATILE ACCOMODATION, AMPLE PARKING, A LARGE GARDEN AND STUNNING SEA VIEWS SITUATED JUST A SHORT WALK FROM THE BEACH.
15 AZURE PENTHOUSE | NEWQUAY | GUIDE £1,350,000
A LUXURIOUS FIVE-BED PENTHOUSE WITH STUNNING SEA VIEWS, EXPANSIVE TERRACES, AND DIRECT LIFT ACCESS. OVERLOOKING FISTRAL BEACH, THIS RARE GEM OFFERS ULTIMATE COASTAL LIVING AND LUCRATIVE RENTAL POTENTIAL.
A space where the ocean breeze meets luxury head on
For Justin Wiggan, it is a place that he has inhabited for a long time
A brand-new immersive historical experience 105 THERE’S AN ART TO IT
Aligning passion with purpose; an ever-evolving gallery space
Unique decorative accessories and artisan gifting solutions
Two
Luxury
At
Journey into an artist-led, research community
The last word – four men in a boat
Ashore AFLOAT and
WORDS BY HANNAH TAPPING | IMAGES BY EMILY HARRIS
Through the lens of Emily Harris, who t rns er oc s to erita e cra s eo e in marine-related environments.
As a sailor, photographer, and filmma er, mily has al ays valued her connection to the sea. o, it as natural that she ould settle in almouth, orn all, a lace that has become very s ecial to her for both sailing and ma ing or closely related to the sea and traditional craftsmanshi .
freelance hotogra her for nearly years, her childhood s ent on the ssex coastline first ins ired her as she documented the characters and ex eriences of sailing traditional vessels native to ast nglia. er documentary style became a thread throughout a Bachelor of rts degree in hotogra hy at arnham, urrey, culminating in a ro ect ac uired by the Im erial War Museum, ondon.
fter graduating in and reac uainting herself ith coastal environments, she redominantly shot editorials for international sailing publications, including lassic Boat before starting to sell her or commercially and using movingimage films to sho case international historic boats for sale – storytelling in collaboration ith international classic yacht bro er andeman acht o.
While continuing to shoot editorial and commercial hotogra hy, mily undertoo a commission to roduce
PREVIOUS
Portrait, Sarah Stirling
educational video content on traditional sailing s ills for the ational Maritime Museum . More recently, she has also roduced hotogra hic bodies of or and film commissions for rivate individuals for long-term ro ects involving craftsmanshi , design and adventure.
rom elders to tailors, illustrating industrial processes or capturing the hysicality of sailing a boat, mily strives to rovide the vie er of both her hotogra hs and films ith an immersive ex erience. he consistently loo s to ca ture both human story and detail, sho casing those ho hone their craft.
mily has recently underta en t o hotogra hic boo commissions for the e artment of ulture in the nited rab mirates, shooting a neo-archaeological ro ect, a Bron e-aged boat, and a heritage food ublication, both for the ational ayed Museum’s imminent o ening.
Currently focusing on work closer to home, i y is doc entin oca cra s eo e t ro er co any re i s and t e traditiona oatin scene in a o t for her YouTube channel ‘Classic Yacht TV’.
oat oto ra er e i y arris oto ra y.co. k
ABOVE
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ntitled , culling race. Mousehole, orn all, .
ABOVE he atch sho boating . Brightlingsea, ssex,
ABOVE of’s ad. t gnes, cilly, orn all, .
ABOVE Boatbuilder Ben arris steaming. ee , orn all, .
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MOO B M I from I ’s foredec in the ichard Mille u . almouth, orn all,
ABOVE
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ABOVE ntitled , culling race. Mousehole, orn all, .
emilyharrisphotography.co.uk
boatphotographer
ABOVE
Sails of Les Voiles de Saint Tropez. Saint Tropez, France, 2011
A connection THE COAST to
WORDS BY HANNAH TAPPING | IMAGES BY JOHN HERSEY
Simple forms, smoky shadows and a glint of colour. Each piece from Tucana Ceramics is inspired by the ever-changing sky and its ocean reflections.
Christina Feltham grew up in Somerset on a small farm where life was always hands on, with days spent out in the countryside. Leaving for college she always knew her future would be associated with the arts.
“My family was full of creatives,” says Christina, “from artists, architects and photographers, to sign writers and brush makers, I was surrounded on all sides by creativity and art. When it came to my own study, I was torn between hands-on furniture design and brand design. Brand design won and I embarked on an exciting career as a designer for an international brand agency in Bath. fter six years I as offered a role
that ould first ta e me to Bang o and then later to Australia. I absolutely loved everything about Australia; the country, the culture, the climate. I would spend weekends exploring with my friends and family embracing nature.”
However, Christina found that her work began to feel quite processed and she anted to find an avenue whereby she could elevate her sketches.
“I took a short course in ceramics and I was fascinated by how it brought life to my designs. I continued my study and my passion for ceramics evolved from there. I have always been inspired by very sculptural forms and architectural pieces and suddenly I had found a medium that combined both.”
Christina Feltham
ABOVE
Pieces inspired by the ever-changing s y and its ocean re ections
eturning to the , her or shifted from expressing quite simple forms to a more textured a roach, a change that hristina uts do n to the change in landsca e. ather than the rich, bright colours of ustralia, orn all’s natural landsca e, earthy textures and its sentinel forms along the coastline began to inform her or . I began to develo a ne series of or stac ed forms reminiscent of the roc y formations of the ornish coast.
It as at this time that Christina also began experimenting with firing techni ues. I anted to achieve something that re ected the ever-changing s ies, different every day, ith an unex ected nature. I had al ays loved the idea of going bac to really traditional methods. o, I started to research barrel firing, hich is one of the oldest methods of firing. I sourced a large metal drum, drilled air holes into the base and set u bric s underneath. I collected drift ood and sea eeds, any ind of natural combustible materials really. he salt from the sea eed created really interesting atterns and even the drift ood ieces ith their inherent iron nails in uenced
the finish. What I started to notice as the effect the combustible material had on the resulting colours. I began to ex eriment ith different combinations and organic matter.
oil and slab building are hristina’s referred methods I roll the clay at and carefully cut out the shapes, pasting them together ith sli and then allowing the works to slo ly dry so that they don’t crac . Once they’ve got to hat you call the leather-hard stage, then you can start to build scul tural forms as the clay is strong enough to hold its sha e.
hey then have to be allo ed to dry again, very slo ly in tem erature-controlled conditions – if it’s too hot, they dry too uic ly and they crac . If it’s too cold, the rocess is more lengthy. hey are stored in my studio, but must be out of direct sunlight covered ith a cloth to ee the atmos here regular around them. It’s a slo rocess but there’s something uite nice about the fact that you’re in the hands of nature.
ABOVE
matter fuels the barrel fire
“When they have dried to the stage where the pieces no longer feel cold to the touch, the process continues in the iln, here the initial firing can ta e u to 12 hours. Once out of the kiln, it’s time to load the barrel. e ending on the finish that I ant, de ends on the ind of fire I create. smo ier fire creates dar er colours – I might stac the fire ith a base layer of soft ine at the bottom, then some sa dust before placing a piece into the barrel. I’ll then layer smaller bits of drift ood or stic s around it. I continue to build the layers up sprinkling in some seaweed and sea salt and whatever else I’ve found on my beach forages. Even the odd potassiumrich banana skin will go in!
“All the pieces are submerged within a mixture of wood and organic matter and packed in snugly. Once lit, the fire burns for a number of hours and then the lid is placed on to retain the heat. I fire similar sha es at the same time, because as the fire burns, they settle do n onto each other.
get these wonderful ochre hues reminiscent of Cornwall’s mining spoils. Photographer John Hersey’s images of my work wonderfully capture some of the rich-red patina’s on the surface of my pieces. The colours remind me of the oily river trails of the mine stacks when there’s tin or copper present in the earth.”
he firing rocess itself is an art form, ith each piece emerging uniquely marked by the lic of the ame and s irls of the smoke. “Sometimes you can literally see the ath the fire has ta en over the pieces. I always find it fascinating as you never really know how each piece will turn out,” muses Christina.
ifferent metals create different results. From iron nails, to copper dish scourers and even old chicken wire. Sometimes you
As we talk, I’m curious as to how the name Tucana came about and learn that it has a particularly meaningful origin, born from a collaboration with her children. “I was trying to think of something that would mimic the pattern of nature,” explains Christina. “A discussion about our favourite animals led to the discovery of the ucana constellation. amed after the oucan, it first a eared on a celestial globe published in 1598. It contains one of the brightest globular clusters in the sky.
Tucana to me, represents the contrast of the ever changing night sky and the glint of bright colour that re ects on the ocean below. A contrast that I always attempt to capture in my work.”
Her creative process involves the whole family, with her children actively participating in material collection: “They all love to help by collecting seaweed washed ashore by the ocean and delight in finding ood left stre n by the storms.”
The inspiration for Christina’s work comes directly from Cornwall’s coastline. “It’s not just the sea though, it’s the rock formations, the mine stac s, the re ections, the colours the ever changing sky. Sometimes inspired by the shimmer from the moon’s re ection. Or hen the sea is grey, the pop of colour that dances on the horizon.”
smooth sheen of the polish. Again a nod to the re ections hen the ocean is still and glassy against the ruggedness of the roc s.
Christina incorporates copper wire as a finishing touch to many of her ieces I loved the simple texture of the works but I felt like there was something missing. I wanted to incorporate that glint of colour from the waters re ections, similar to those magical little sparkles that you get in the rock pools. I feel that it elevates the pieces and links them back to the materials used in the firing rocess.
ach iece undergoes careful finishing after firing as hristina ex lains I use a local beeswax that is rubbed onto the fired surface. I love the contrast the raw and rugged markings with the
For Christina, the process will always be experimental and exciting: “You can play so much with what you put into the barrel. Some materials might not give as much of an effect as others, but there are always surprises.” The incorporation of natural materials from Cornwall’s coastline to create unique patterns and colours truly anchors her work within the local environment.
tucanaceramics.com
tucanaceramics
ABOVE
Halv vessel
Shine on DIAMOND you crazy
WORDS BY HANNAH TAPPING
A space where the ocean breeze meets luxury head on.
Let’s be honest: the idea of a beach shack doesn’t usually conjure images of luxury. More often than not, we picture something a little rickety, a bit sandblasted, with a couple of mismatched deck chairs on the deck. The kind of shack that’s seen better days, but still holds onto its charm by sheer grit and stubbornness. Well, forget everything you think you know about shacks, because the new collection of beach hideaways at Three Mile Beach will make you rethink the very meaning of the word.
These are shacks in the loosest sense. Yes, they sit amongst the dunes and they have a low-key, almost offbeat feel to them, but referring to them as ‘shacks’ is a bit like calling a Porsche a ‘car’ – technically correct, but absolutely not the full story. They’re cool, sure, but in a way that’s comfortable,
understated and – dare I say – effortlessly chic. If a beach retreat could wear a leather jacket, this would be it. Three Mile Beach is the brainchild of Audley Travel founder Craig Burkinshaw and his partner Jo Le Bon. With an aim to ‘redefine the selfcatering experience’, this collection of 19 beach houses that hunker in the dunes above the bay redefines beachside living.
You approach Three Mile Beach’s latest offering via a winding track that cuts through the undulating dunes, the kind of road that you’re convinced doesn’t go anywhere – until you reach your destination. Then, all at once, it feels like you’ve stumbled upon a secret. Like someone’s let you in on a little-known corner of paradise, where the sand stretches out endlessly and the only sounds are the crash of waves and the rustle of wind through the grass. Parking
the car, we follow the winding footpath to the front of Crazy Diamond – our shack for the weekend. All of the properties here take their names from Jo and Craig’s favourite iconic songs, reading like the ultimate holiday soundtrack and are unashamedly painted in vibrant colours, reminiscent of the Neapolitan ice cream I loved so much as a child. I feel very nostalgic.
Entry is simple; a key code arrives to your telephone in good time for arrival, so there’s no worries about a late check in should the A30 choose not to be kind. As we push open the satisfyingly heavy front door, the lobby opens out into the most glorious of spaces. Windows on all sides, high vaulted ceilings and décor that is nothing short of joyous. Jo is chief stylist and brings India, Moroccan and Mexican in uences to bear. My daughter instantly falls in love with the crocheted sea creatures in her bedroom, while I wax lyrical about the mint green Smeg appliances and an unashamedly pink Everhot stove. I think that’s the key here, nothing takes itself too seriously, everything is wonderfully eclectic, yet retains an undertone of total luxury.
itself to be the television. Same with the brightly coloured jerry can attached to the wall, it’s actually a cocktail cabinet. I love the unexpected nature of this place. The kitchen area is the kind of place that makes you want to cook. You won’t need much of an excuse to crack open a bottle of something cold and sip it while you stare out at the view, and when you feel like some culinary creativity, you’ve got all the tools. Down to the smallest most practical of objects d’art, each seems carefully chosen to enhance the mood. It’s these touches – unexpected, a little whimsical – that give the shack its personality. It’s luxury with a lighthearted twist, a place that doesn’t take itself too seriously but still manages to leave a lasting impression – I’m already in heaven.
The living area has an easy open-plan configuration ith a tac tove by a Castellamonte ready to warm post-surf toes. The comfy sofa, strewn with vibrant cushions faces hat I first thin to be a wonderful abstract painting, yet reveals
If the living room is a lesson in beach-shack chic, then the bedrooms are the soft, dreamy unctuation at the end of the sentence. They are a sanctuary. The kind of room where you can’t help but think, “I could stay here forever.” A kingsized bed takes centre stage, with linens so soft, they beg you to stay under the covers a little longer. The colour scheme is light and calming – think pale whites, greys, and washed-out blues, with whitewashed wood to ground it all. It’s the kind of room where you wake up to the sound of the ocean rather than an alarm, where the light filters in gently through the o en windows and where, ultimately, you can just be.
The bathroom, as with every other corner of this beach shack, has an easyon-the-eye design. iled oor to ceiling, stocked with sweet smelling shower products and cocooning robes, even this functional space has been elevated to a spa-like status.
Once e’ve finished ex loring the interior, we throw open the patio doors – one of t o sets, the other leads off the master bedroom – and step out onto the deck. The smell of warm cedar from the sunken hot tub and private sauna mixes with the salt on the air to create a heady scent of coastal bliss.
I always think that it’s the little things that make a stay here memorable. The hammock where you can s end the late afternoon with a book you’ll never finish as your eyes droo and you nod off for the best of naps. The beanbags you can sink into with a glass of wine in hand as the sun slips below the horizon. The outdoor shower that rinses sand from sun-kissed toes or the gas barbecue that invites grilled seafood feasts – well why wouldn’t you with an ocean larder on your doorstep?
It’s not simply the location, nor the accommodation at Three Mile Beach that makes it so special, it’s all the carefully thought-out extras that make for a perfect
stay. A pizza party delivered to your shack, complete with pizza oven and all the ingredients you need to create your own little Italian eatery. A tuk-tuk at rece tion serving Origin coffee that ill set you up for the day. The onsite Chomp take-out and bar serving family style sharing plates that can be enjoyed in the garden in summer, in beach huts or a cosy yurt when the weather turns, or delivered to your accommodation out of season. Bookable private chefs for the discerning gourmand. nd, of course, sur oard hire for riding Gwithian’s famous beach break.
Ah yes, the beach, we can’t leave that without a mention. You’re mere steps from it and as you wander down to the shoreline, the sand warm beneath your feet, it feels almost impossible that this idyllic little corner of the world exists at all. We’re here in the off season. No crowds. No noise. Just the endless Atlantic ocean, stretching out to the horizon. We cold water swim in ‘the sheep dip’ – a deep tidal pool exposed at low tide – before returning to the warmth of the sauna and the hot tub. This is a new breed of beach escape: quiet, cool and impossibly charming, with just enough eccentricity to make it unforgettable – we didn’t want to leave.
threemilebeach.co.uk
ABOVE Beach shack-chic at every turn
The larger beach houses at Three Mile Beach are perfect for large groups.
STRAP BRUSHED STEEL BRACELET
LIVE FOR THE ADVENTURE
The pelagic is unashamedly rugged in its appearance, yet carries a sophistication derived from an understated elegance in design.
This is no ordinary dive watch; it’s a statement for the modern explorer, designed by the sea, for adventures on the edge of the world.
26-jewel, Swiss Sellita SW200 automatic movement with hacking function
Water resistant to 500m / 1640ft
Two-year warranty
Hand-built in Switzerland
For the love OF FOOD
WORDS BY PAUL AINSWORTH
Recipes for life’s delicious moments; telling a story about key moments in my life and the inspiration behind it.
Ainsworth (Harper Collins, £26.00 )
Three-Cheese & Onion Arancini
The Caffè Rojano arancini have become pretty iconic, to the point that, if we even dared to take them off the menu, there would be an outcry. This version is slightly different but, if you want to replicate the Caffè Rojano version, then just fold through some beef bolognese to make the arancini Sicilian. The mixture lasts for 3–4 days in the fridge but also freezes well, so you don’t have to use it all in one go. Always allow the balls to come to room temperature before frying for maximum ooziness.
SERVES: 4
INGREDIENTS:
60g unsalted butter
1 small white onion, diced
1 garlic clove, finely chopped or grated
2 sprigs of thyme
250g arborio rice
900ml chicken or vegetable stock
50g Red Leicester, grated
50g mozzarella, grated
50g Parmesan, grated
METHOD
Place a medium saucepan over a medium heat. Add the butter and melt. Now add the onion, garlic, thyme and a pinch of sea salt. Cook the onion without colouring until soft. Add the rice and stir until the onion and butter coats the rice.
In a separate pan, heat the stock until it is steaming hot, but not boiling. Now add the stock to the rice, a little bit at a time and stirring continuously, until the rice has absorbed all the hot stock and you have a thick, glossy, risotto-like consistency.
Turn down the heat, add the cheeses and stir until they have melted into the rice. Now add the spring onions, chives and lemon juice. Check the seasoning and adjust with the sea salt and black pepper. Leave the risotto mixture to cool in the pan, then place in the fridge to fully chill the rice.
2 spring onions, finely sliced 10g chives, chopped
2 tbsp lemon juice
1 litre olive oil
2 egg whites, beaten 150g really dry or panko breadcrumbs
Cornish sea salt
Cracked black pepper
Preheat a deep-fat fryer or a pan with the oil to 180°C, using a food thermometer to check the temperature. Also preheat the oven to 180°C fan. Take the chilled rice and roll it into 30 g balls. Dip each one into the egg white and then the breadcrumbs to thoroughly coat, and arrange on a tray.
Once you’ve rolled the balls, deep-fry them in the fryer or pan of oil for 2½–3 minutes. Carefully lift the balls out of the fryer or pan, drain on kitchen paper and season with a little sea salt. Place the arancini on a tray and cook in the oven for 2–3 minutes, just to finish them off. When cooked, set aside to rest for a final 2–3 minutes, to allow all the flavours to come out.
I love to dip these into a flavoured mayonnaise like the Hot Sweet Chilli Mayonnaise or into warm Tomato Fondue.
o no oul Ragù & Pappardelle with Chimichurri
It doesn’t get more signature Caffè Rojano than this dish. When my wife, Emma, and I knew we were going to be launching Caffè Rojano, we went to Rome and visited lots of trattorias. Interestingly, what we noticed there was a serious amount of pasta compared to a thimbleful of bolognese! Growing up as a kid in our house, my dad was adamant that it was minimum spaghetti with a boat-load of bolognese. Here, I’ve gone 50/50.
SERVES: 4
INGREDIENTS:
2 tbsp olive oil
1.5kg beef shoulder (feather blade)
1 onion, peeled and cut into quarters
1 carrot, unpeeled and cut lengthways
1 leek, cut lengthways then in half
2 garlic cloves, crushed
4 sprigs of thyme
4 sprigs of rosemary
1 bay leaf
½ tbsp tomato purée
50ml red wine vinegar
500ml red wine
2 litres beef stock
Overnight Tomatoes
50g Parmesan
Sea salt
Cracked black pepper
For the overnight tomatoes:
14 vine-ripened cherry tomatoes, halved
2 garlic cloves 1 tbsp olive oil
½ tbsp sherry vinegar
Sea salt
Cracked black pepper
For the pasta:
3 egg yolks
2 eggs
1 tbsp extra virgin olive oil
225 g ‘00’ pasta flour, plus extra for dusting
For the chimichurri:
60g flat-leaf parsley, stalks included
60g coriander, stalks included
15g oregano, leaves picked
1 garlic clove, peeled
½ tsp chilli flakes
1 tsp ground cumin
80ml olive oil
60ml cider vinegar
For the pangrattato:
250g stale bread, torn into small pieces
75g unsalted butter
4 garlic cloves, finely chopped or grated
4 sprigs of thyme, leaves picked
Zest of ½ lemon
Method overleaf...
METHOD
Preheat the oven to 150°C fan.
To make the beef ragù, place a large casserole over a medium heat and add the olive oil. Season the beef all over with salt, then carefully place in the pan and brown all over, turning every 20 seconds until you have a lovely piece of browned meat. After about 4–5 minutes, remove the beef from the pan and place on a tray.
Leave the casserole on the heat, add the onion and carrot and cook the vegetables in the beef fat for 2 minutes. Now add the leek, garlic, thyme, rosemary and bay leaf and cook for a further 2–3 minutes. Next, add the tomato purée and cook for another 2 minutes, stirring continuously. Now add 25 ml of the red wine vinegar and deglaze all the lovely flavours off the bottom of the pan. Pour in the red wine and reduce until it has been absorbed into the vegetables. Add the beef stock and bring everything to a simmer, then return the beef to the cooking liquor. Place a piece of baking paper on top and use a small plate to help keep the meat submerged. Cover with a lid and cook in the oven for about 2½ hours.
The best way to test if the beef is cooked is by inserting a small knife through the middle. If it’s soft and the knife goes through easily, the beef is ready. Remove the beef from the oven but leave the lid on the pan until the beef is cool enough to touch. Then, transfer the beef to a plate and strain the cooking liquor through a sieve into another saucepan. Turn up the heat to high and reduce the cooking liquor until you get a thick, gravy-like sauce.
Once the sauce is reduced and thick, take off the heat and set aside to cool for 20 minutes while you pick the beef into small pieces. Now add the sauce, bit by bit, to glaze and coat the meat. It will more than likely not need all the sauce but you can use the rest for so many things and it freezes really well. Stir through the remaining 25 ml of red wine vinegar, then taste and check the seasoning.
To make the pasta, whisk the eggs, egg yolks and extra virgin olive oil together. Now add the flour and a pinch of salt to a food appliance with a blade attachment and pulse for just 2–3 seconds to combine. Turn the appliance on and slowly add the egg mixture. Stop once the flour and eggs start to form a crumb, turn the machine off and pinch the mixture together. If it forms a dough in your fingers, it’s ready. If it is still crumblike, add some more egg mixture. Once the dough starts to come together, turn the machine off, empty the contents onto a lightly floured surface and knead the dough for 4–5 minutes to form a ball of pasta. Wrap the pasta in clingfilm and leave to rest in the fridge for 30 minutes.
Unwrap the dough and, with a rolling pin, roll it out until it is thin enough to start to roll through a pasta machine. Depending on your pasta machine, I take my pasta down a notch each time until I reach setting 3 or 4. Cut the pasta into 30-cm sheets, attach the tagliatelle cutter and roll each sheet through the pappardelle cutter. (If you don’t have a pappardelle cutter, you can cut the pasta into 30 x 4-cm ribbons by hand.) Place your pappardelle on a clothes hanger and hang it up to dry for around 20 minutes.
To make the chimichurri, add all the ingredients to a liquidizer and blitz until smooth. To make the pangrattato, add the stale bread to a food appliance with a blade attachment, or a blender, and lightly pulse until coarsely broken down. Place a large frying pan over a medium heat, add the butter and heat until the butter is golden and foaming. Add the broken stale bread, garlic, thyme leaves and a pinch of sea salt and cook until the bread is golden and crisp. Just before removing from the pan, add the lemon zest and have a final taste, adding a little more salt if needed. Transfer the crisp crumbs to a tray lined with kitchen paper to remove any excess fat, ready for serving.
Fill a deep-sided pan with water, season with salt and bring to the boil. Cook the dried pasta for 2 minutes. While the pasta is boiling, warm the beef ragù in a shallow casserolestyle pan and stir through the overnight
tomatoes. Once the pasta is cooked, drain into a colander and then add to the ragù, gently turning to coat the pasta in the sauce but being careful not to overmix.
Remove the pan from the heat, spoon over some of the chimichurri dressing and the toasted pangrattato, then place in the middle of the table with the Parmesan and a grater, and let people grate their own.
The night before you want to serve the dish, preheat the oven to its lowest setting – around 50°C fan. Place the cherry tomatoes on a ing t li t g li lo s s t inl as you possibly can, then top each tomato half it sli o g li son lig tl it s salt and cracked black pepper, then lightly drizzle the sherry vinegar all over the tomatoes. Place the tray in the preheated oven and go to bed. Wake up the next morning to the bests lling it n n littl ls o ou
Illustration © Jessie Bayliss
Rhubarb, Ginger & Pink Lady Apple Crumble
Sometimes, food memories aren’t necessarily about the food; they can remind you of a person or a place. And in this case, I’m dedicating this recipe to my dad. He always had a patch of rhubarb growing in the garden, right next to my rabbit hutch. Most weeks at the guesthouse, he would cook the customers a rhubarb and apple crumble with thick Bird’s custard. I’ve made this recipe my own, but the heart and soul of it is still true to that memory. I also love to eat this with a lump of Cheddar (don’t knock it ʼtil you’ve tried it!), or just straight up with chilled pouring cream.
SERVES: 4-6
INGREDIENTS:
900g fresh rhubarb, peeled and stalks removed
20g fresh root ginger, peeled and finely chopped or grated
5 Pink Lady apples, peeled
130g dark soft brown sugar
Pinch of Cornish sea salt
3 sprigs of thyme, leaves picked
Zest of 1 lemon
Custard (see below), to serve
METHOD
Preheat the oven to 170°C fan.
First, make the crumble filling. Cut the rhubarb into 2 cm-batons and place in a bowl with the grated ginger. Cut the apples in half, then into quarters and remove the core. Cut the quarters in half again, then place in the bowl with the rhubarb and ginger. Add the sugar, salt, thyme and lemon zest and mix well, ensuring the rhubarb and apple are thoroughly coated. Set aside to allow the fruit to macerate for 20 minutes.
To make the crumble, add all the ingredients to a stand mixer with the paddle attachment.
For the crumble:
130 g wholemeal flour
50g jumbo oats
40g cornflakes (I use Crunchy Nut)
¼ tsp ground ginger
2 rasps of nutmeg
¼ tsp ground cinnamon
125g cold unsalted butter, diced
85g demerara sugar
35g almonds, chopped
Mix on slow speed until all the ingredients form a crumble. You can also do this by hand in a mixing bowl.
In a shallow ovenproof pan or baking dish, add the macerated rhubarb and apple, including all of the juice. Spread the fruit out evenly and top with the crumble, ensuring it covers every bit of fruit. This will lock the steam in and cook the fruit. Bake for 35–40 minutes. When cooked, remove from the oven and leave to sit for 15 minutes.
Serve the crumble with the thick, warm custard, and just soak up the vibe of contentedness!
A larderof
WORDS BY ROSIE CATTRELL
LAND & SEA
Surrounded by an abundance of top-quality produce, two local head chefs have been making their own unique impressions on the Cornish cuisine scene.
It’s no secret that within Cornwall’s borders, food uite often ta es centre stage. Edged with deep crystalline seas and ainted in a atch or of green o en fields, it’s no onder that the treasure found beneath the surface of land and ater in the uchy ma es for a rich natural larder that many a local chef is grateful to hold the ey to.
While guests are welcomed from far and wide to set down their suitcases and enjoy Cornwall’s enchanting coastal setting from the comfort of a stunning collection of hotels, it seems only right that the very best of them have brought their own showcase of Cornish cuisine to the forefront of their offering.
Resting on the very edge of the River Fal, he reenban in almouth is one such hotel. While the water laps at the beach below and sailboats sway with the pull of the tide, the Water’s Edge restaurant
certainly ma es the most of this serene setting. Fronted by a panoramic riverside vista, each diner is invited to ta e a seat in front of the uninterrupted view which, perhaps surprisingly, is not the best part of this exceptional experience.
Home to a two AA Rosette award for 2024 to 2025, and one of Food Lifestyle’s five finalists for otel of the Year 2024, he reenban ’s o n Water’s Edge restaurant has made a name for itself when it comes to top-tier Cornish dining experiences. In a conversation with the man at the heart of it all, Head Chef Bobby Southworth lets me in on the secrets to his culinary success.
Tell me about your experience as a chef here in Cornwall. I feel quite privileged to be a Cornish lad who’s been able to build his whole career right here in almouth, and I’ve or ed
Dining at The Alverton, where ingredients ta e centre stage
he reenban
TOP
Bobby at his Taste of Cornwall event
ABOVE
ood at he reenban s ea s for itself
with some incredible chefs along the way. here’s the ing of seafood, om Bro n of the Pearly Queen who’s just been voted as having the best oysters in London. Cornish boy Gavin Edney, Executive Chef of the eadland otel. nd then there’s ic Hodges, Executive Chef of the Cornwall otel ollection. e gave me the eys to the Water’s Edge eight years ago, and just let me be me.
What do you think people today are looking for when it comes to an exceptional dining experience in Cornwall?
One thing that’s so important is to be consistent in the food you deliver. You need to set the bar high, and then ee it there. With so many amazing local ingredients at our fingerti s, there’s no need to overcom licate things. et the heart of the dish s ea for itself. long ith some first-class service, that’s how you build a reputation in this industry.
Tell me about the hotel’s relationship with local suppliers, and why it’s so important when it comes to the food offering.
We have a range of local suppliers that we rely on everyday for fresh ingredients. Celtic Fish in Newlyn, for instance, provide us with fresh ornish fish every morning for the day ahead. Canara Farm, our vegetable supplier, are located on the hills that can be seen from the restaurant. Etherington’s in Scorrier supplies our meat, Greet Cheese in Truro provides us with the most amazing cheese, and nightor Winery in aint ustell offer the most delicious pairings to the menu. We’d be nothing without the incredible suppliers that catch, rear, gro and craft these incredible products right on our doorstep.
Tell me a bit about the inspiration behind the current menu.
We li e to lean into ingredients that are naturally available at the time, see ing out avours that re ect the seasons – thin classic dishes with a twist, built with ingredients that complement each other. While I curate the menus, we’ve got such a strong team in the itchen that there’s an element of collaboration hen it comes to finalising dishes. Aaron Rawlings for instance, our astry hef, is so no ledgeable and has such creative air hen it comes to desserts.
If you were to sit down to eat at the Water’s Edge, what would be your pick from the menu?
There are some really exciting dishes coming up on our new menu. I’d have to start with the lamb scotch egg. This is something you’re not going to want to miss, a perfect intro to a winter meal. The main event has got to be duc and cherry – a duo of duc confit leg and breast ith a festive t ist. o round it all off, you can’t go rong with one of Aaron’s tiramisus, it really is incredible stuff.
Tell me about the Bobby’s Taste of Cornwall evenings.
These are my favourite events to do. I get to spend a whole evening with my guests and share what I love doing with them. I always love to see smiling faces and em ty lates, and I thin it’s very rare these days that customers have that interaction with the chef who’s behind their dining experience. It’s all about showcasing what we can do here in Cornwall with the ingredients that e’re so luc y to have around us. hat’s hat it’s all about – I ust love tal ing about food!
And he’s not the only one. Over at The reenban ’s sister hotel, he lverton, Head Chef Ollie Wyatt channels his own assion for fine local avours into the hotel’s culinary offering. lad in ivy and shrouded in ancient trees, The Alverton’s historic Grade II-listed architecture can feel li e a orld all its o n ith the bustling cathedral city of Truro carrying on around it, and the same goes for its popular restaurant.
How would you describe the dining experience at The Alverton?
We try to create a casual dining atmos here here, ith fine regional food at the heart of it all. It’s about celebrating good Cornish ingredients, and with some fantastic local suppliers on hand, only the best quality food is served. I’ve had a relationship with Cornwall Fish Direct for over ten years, and WestCountry Fruit Sales for about 25. If you want only the very best, it’s all about ho you no .
Tell me a little bit about the restaurant’s culinary offering.
ere at he lverton, e li e to try to ee things as sim le as ossible, hilst laying on the incredible natural avours that e’re afforded living here in orn all. Everything on the menu is something I’d li e to eat myself, and hile everything on your late is carefully considered, e li e to ta e the fuss and om a ay from the food so all that’s left is incredible avours that s ea for themselves.
Talk me through some of your experiences before you came to the hotel.
s a ornish guy, I’ve been luc y enough to develop my career down here in the South West. I’ve held senior positions at Cornish
establishments li e the andora Inn, he Headland Hotel, and The Cove. Each road has led me to The Alverton, and with almost three years under my belt here, every day only gets more exciting.
What would be your pick of The Alverton’s current menu?
It’s got to be the beef carpaccio to start. eally rich, dee avours ust arm you u when it’s cold out. For the main event my favourite dish at the moment would be the BB mon fish, it’s a leasure to coo as ell as to eat! I’m not a sweet tooth myself, so a bit of cheese to finish it all off is ust the thing.
Tell me about some of The Alverton’s foodfocussed events that happen throughout the year.
This is where it gets really exciting. Throughout the summer I’ll come and barbeque out on the terrace, and when events li e obster on the a n come around, e get to really throw ourselves into the day and interact with our guests. With my Taste of Truro event coming up on 5th March, I’m sure St Piran would be proud of the five-course tasting menu I’ve got lanned.
With Cornwall clearly rooted in the hearts of head chef and hotel ali e, it’s clear that he reenban and he lverton are home to two dining experiences with a local larder of land and sea at the very centre of it all, ust aiting for you to ta e your seat.
With culinary events taking place throughout the year, head to the hotel websites for more information and to reserve your seat at the table.
greenbank-hotel.co.uk thealverton.co.uk
ABOVE The Alverton
TOP Head Chef at The Alverton, Ollie Wyatt
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he heart of the home includes a cosy rece tion room with a wood-burning stove, leading to a itchen dining s ace that o ens to a rivate alled garden. stairs, the master bedroom boasts an en-suite ith vie s of the estuary, hile t o other bedrooms share a dual-access sho er room.
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he bes o e, alnut-finished itchen, com lemented by iemens technology, is designed ith entertainment in mind. d acent to the dining area and the sunset-facing, sun en lounge, heated elegant Italian oors and rotating ood-burning stove are features hich effortlessly connect these s aces.
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Perched in a prime position above Polzeath beach, Wild hyme offers an inviting blend of modern comfort and coastal allure. This -bedroom, semi-detached bungalo is designed for those ho cherish ex ansive sea vie s and roximity to the surf. Its o en- lan living and dining area, enhanced by a log burner and large bay indo , leads directly onto a veranda that overloo s the shore, ideal for en oying ol eath’s spectacular sunsets.
he home’s layout includes a rinci al bedroom ith sea vie s, t o t in rooms and a double bedroom ith an en-suite et room, ensuring am le s ace for family or guests. dditional features such as a single garage, rivate ar ing and an elevated garden ith anoramic vie s rovide ractical and lifestyle benefits.
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Welcome SONOSPHERE the to
WORDS BY JAMIE CROCKER
For Justin Wiggan, it is a place that he has inhabited for a long time.
But what is it that he does to bring this realm of experience to others? It is a subject, running contrary to the sound-bite world that we inhabit these days, aptly summed up in Justin’s recollection of a project he did for the National Trust, “I did some work at Trerice recently, recording the knot garden, ready for the blossom festival next year. And their very busy head programmer, who, referring to a project I’d produced for her before, said, “I trusted you. You did it, and you delivered it, and it was really good. But I don’t understand it.”” Without wishing to denigrate the head programmer, an amount of on-boarding is required. Context is all
am lification thereafter to a lace here these experiences get harnessed for a greater purpose. It is a personal journey, one that has ultimately allowed Justin to reach out to us all, not just for self-vindication but to imbue all of our lives with a greater sense of worth and meaning. As such, he is one of this world’s explorers, who has found his niche in cutting a new pathway that we, as life’s tourists, should and will be keen to experience.
To ‘get’ Justin and what he does requires a modicum of genial preamble to let the dialogue gently find its course a natural o couched in humour, asides and an endearing sense of self-deprecation on his part. You have to allow yourself to be slowly drawn into a narrative that is coloured by trauma, the subsequent creation of an imaginary auditory landscape and
You’re probably already thinking that what is to follow will be a written odyssey, that at some point you’ll part company with and just have a cursory glance at the weird photos and move on to the next article. But you would be doing both yourself and Justin a disservice. Think of that moment in The Imitation Game when Commander Denniston is ready to have Alan Turing’s ‘computer’ taken to pieces because Denniston didn’t understand its potential and the fact that it asn’t uantifiable ithin the acce ted norms. What would have been the cost there?
INSET
Justin Wiggan
TOP Exhibition, Telemark Kunst Museum, Norway
ABOVE Stone Tones, Royal Cornwall Museum, Truro
Leon Wiggan
TOP LEFT
Recording the natural world
TOP RIGHT Stone Tones, Royal Cornwall Museum, Truro
ABOVE
Internal Garden at Fish Factory, Penryn
Oona Wiggan
Leon Wiggan
Admittedly, it is problematic from the outset. Asked what is the motivating force behind his work Justin replies, “So, I think hat defines my ractice is based on the wish or desire to do something impossible.” He continues, “It all comes from Play. Being a child. And I think it arose from growing up in a volatile household, where, because of the situation, I had to force myself into an imaginary state, akin to a trance. So, to be surrounded by that sort of negative energy made me create, inside my head, a different universe here the im ossible would happen.” Essentially, there was a disconnect that needed to be bridged between what Justin recognised in his own family and what he observed in the families of some of his friends. It was the fulcrum from where his need to create was born. He needed to fill that intersection bet een the real and imaginary worlds.
So, why become a sound artist as opposed to a visual one? That too emanated from his childhood experience. Think about how heavy words, so lightly thrown, can determine the trajectory of a whole life, especially when you’re in your most receptive and fragile state. For Justin, he remembers being told that ‘by the time you’re five you’ll be losing your sight and when you become a teenager, you’ll be blind’. The impact would have been tremendous. As a consequence, he concentrated on his hearing. Strangely, or not, this realisation of what he’d done as a child only came to Justin during lockdown, when I think we all had time to assess, adapt and change to meet and survive the discombobulation of what we were all facing. He says, “It dawned on me then, that I’d been training
all my life to navigate through the potential of not being able to see anything. Ever.”
It was a moment of self-realisation, pitching him into having to accept that his inner interpretation of the world stemmed from a child’s rationalisation. On a purely functional basis, there was a recognition of the empirical evidence around him –buildings, trees, the requirement to support a family – but he also had come to a point where he understood the other driving force, an innate desire to listen, record and make available to others something which doesn’t necessarily generate sound in the way that we have come to understand. It had been a background imperative that had been softly informing his hole sonos heric life. That was why he was doing what he was doing, that was why he was engaging with technology, that was what he had to offer the orld as a sound artist.
He has used the available technology for a creative purpose to bridge the gap between the individual and the environment where no bridges were before. He endeavours to take you from one place to another. Two cases in point that we can probably understand were the installation of ‘echo point soundposts’ at places that have recorded instances of people desiring to commit suicide. The sonic emissions have the power to interrupt the would-be jumper and foster in them a resilience to resist their desperate intention. Justin has also brought his experience and expertise to people with late-stage cancer when, for 18 months, he worked in a hospice as part of the palliative care team. Justin takes up the thread, “I was making memories for people who
were unlikely to be around for too much longer. I was turning their memories into sound so they could time travel. Building soundscapes made up of little incremental memories that don’t mean much to anybody else, but to the individual were milestones in their lives.” He sums up, “Again, it’s about escape connected to resilience.”
As if this wasn’t enough, he delves deeper as our discussion moves on. “Ultimately, I thin all artists do or for themselves first and foremost, but I think they need to be understood, knowing that other people are likely to have issues themselves, ones that can be addressed and illuminated by art in whatever form it takes. As many have said, it’s science that allows us to live longer, but it’s art that asks questions as to what it is to be human. And if, as an artist, you have enlightenment or the courage to ask the questions, you must report back. Sometimes, an interpreter or interpretation is required, but nothing sits in a vacuum, the art before you is created by a person, and therefore, you can respond. It ust re uires committing to a first ste and a willingness to follow the path.”
you have to be in the right environment aligned to a conducive situation and use the tools that you have been ‘gifted’. ou have to create the right circumstances or be invited to the right circumstances for a conce t or an idea to o . It needs oxygen. Memories and thoughts require oxygen. However, sometimes those circumstances are wrong. I’ve turned up with a ‘spoon to a machete fight’ before. hat in itself is interesting though, because it allows things to break.” I think what Justin is alluding to is that faced with a scenario that has no precedents compels you to adapt and reinvent because the rug of convention has been pulled away so there are no rules to follow. It means the art which is generated is seen as a threat because by definition it becomes a continually evolving process that produces questions. How have these things been allowed to happen? Are they right or wrong? “It is strange, that as children, we are told to grow up, to stop being silly. It’s as if the debate is being closed down before it’s even allowed to begin because awkward conversations may evolve.”
So how does Justin know which concepts to explore? Interestingly to explain this he quotes Thurston Moore of Sonic Youth fame – ‘Every band has one song. Anything else is a variation of that song.’ For him, it’s a desire to ask questions. That’s it. To do so though,
So, with this continuous journey along the road less travelled, with every step triggering more questions, what is Justin hoping to achieve? “I feel like I’m constructing emotional sonic architecture. I think that’s what the sound work I’ve tried to do is all about. Creating a space which
Justin, as guest speaker, at Walk in Nature for Birkenstock, Norway 2024
ABOVE
Detail from Walk in Nature event for Birkenstock, Norway, 2024 Khali
TOP
Whispers of Better Things to Come, Chelsea Flower Show, 2024 with AnnMarie Powell and the National Trust
ABOVE Biosonification of the not garden at Trerice for the National Trust
Leon Wiggan
subconsciously you can disappear into and inhabit. Like a physical building, with staircases and rooms filled ith a myriad of interesting things.” In this sense Justin is a facilitator, encouraging people through his sound art to investigate their relationship with the world. He wants people to have new thoughts, and original thoughts and to be free to ask questions without the burden of guilt. He adds, “What we do is follow other eo le’s uestions first, rather than formulate our own questions”.
A penultimate observation of Justin’s, which I believe throws light on his idea that everything should be in a state of ux, and one that inadvertently reveals something of his wish to connect and tread gently through this life as a person, arises from the closing moments of our conversation. It made me smile. He gives voice to something all of us have pondered at some point, “Is that a piece of art, or is that just a broken plug socket? And then you get news stories of cleaners taking some ‘rubbish’ out of a gallery and it turns out to be worth thousands. It just shows you that we’re not asking the right questions. Things have become moribund. We’re too fearful because there’s always going to be somebody to mock you. So, instead of condemning the poor cleaner and exposing her to the trolls out there, who are angrily jumping on the bandwagon and asking how can someone be so stupid and do this, why not interview her? Why not give her a show on the back of what she’s done? She
felt the need to clean that up because she was doing her job. What is her job? And really, she’s asked the biggest question, maybe one that the artist has never been asked in his life – why has she thrown his work away.”
Finally, something which I think should be agged u is the recognition ustin has received in the wider world. He won the prestigious Sound of The Year Award 2022 for Echo Point, which, as referred to earlier, uses sounds to in uence breathing, reduce agitation and build sustained resilience in communities. He was awarded two Royal Television Society awards and elected by Aesthetica Magazine amongst the best 250 artists in the world for the Aesthetica Art Prize: “Future Now”! Showcasing ‘Sensory Beings: Internal Garden’. His works have been exhibited nationally and internationally: B.O.M Birmingham, Protein Gallery London, Baltic Gallery, Citric Gallery Italy and Gigantic Art Space New York. As Karen Newman, Director of B.O.M, has observed, “Justin is one of the most important artists working across arts and health right now, his ground-breaking work has huge potential for impact across life sciences, a testament to the power of creativity in health and wellbeing.” His album Cloud Scanner was also nominated for a Grammy this year.
internalgarden.info echopoint.uk
To the Moon and Back workshop for Be Newquay Festival, 2024
Leon Wiggan
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An untold CHAPTER
WORDS BY JAMIE CROCKER
TA brand-new immersive historical experience has opened in Cornwall in the village of St Ive, near Liskeard.
he Story of Emily combines modern technology with intricate restoration to honour Emily Hobhouse, a remarkable ornish woman who de ed ictorian conventions. During the Second AngloBoer War, Emily travelled alone to South Africa, witnessing and responding to the suffering of women and children in ritish concentration camps. She brought aid and relief, making an enduring impact on countless lives and becoming a thorn in the side of those overseeing the camps and beyond
This immersive experience takes visitors back to the late 19th and early 20th centuries. Self-guided audio tours lead guests through Emily’s restored childhood home, a ictorian rectory recreated to its 1875 setting. Wander through rooms like Emily’s school room and the scullery and even try on ictorian clothing, available for children and adults.
The War Rooms contrast this domestic setting with a sensory journey that combines installations, animation and
virtual reality to depict the war’s sieges and guerrilla campaigns. It powerfully portrays mily s courageous efforts and her legacy, a legacy that South Africa reveres but which is largely forgotten in Britain. “Through this experience, we aim to reignite awareness of Emily’s courage and the resilience of the women and children of that time,” explains Martin Lovell, general manager.
The Story of Emily also features a restaurant that serves South African dishes inspired by the 19th century, enjoyed alongside views of a ictorian style itchen arden. isitors can e lore the surrounding gardens, meet animals, and take in scenic views from the mound overlooking the War Rooms.
The Story of Emily is open from 9am till 5pm, Thursday to Sunday, with selfguided audio tours of the Rectory and War Rooms available from 10am. These must be booked in advance. Adult prices start from £25pp.
thestoryofemily.com
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Emily’s small writng bureau
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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.
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Explore the Victorian world of the Hobhouse family set in 1875
lived here from her birth until she was 34 years old
ABOVE
Emily
LEFT
Part of the ‘The War Rooms’ experience
There’s an ART TO IT
TOP LEFT Gallery interior
MIDDLE
BOTTOM LEFT
Stoneware Spheres by Kate Schuricht
BOTTOM RIGHT Flow Jugs by Kate Schuricht
‘Sunset, Trevone Beach’, oil on board, by David Atkins
TOP RIGHT
‘Cormorant on a Rock’ by Jane Silk
Aligning passion with purpose; an ever-evolving a ery s ace t at a ays o ers a res ers ecti e.
The autumn sun creates a juxtaposition, casting shadows along Padstow’s narrow, winding streets. Set back from the main thoroughfare of the busy working harbour, every turn of the corner reveals a secret haven, not least of which is Padstow Gallery, a place of creativity, community and passion. This gallery serves as more than just an exhibition space for contemporary British artwork – it’s a vibrant bridge between artists, art lovers, and the coastal scenes and landscapes that inspire both.
In our fast-paced digital age, it’s easy to overlook the vital role that art galleries play in our lives. Galleries, such as the Padstow Gallery in Cornwall, have transformed far beyond simple exhibition spaces, becoming integral hubs of community, inspiration, and personal connection. These are places where the enchantment of creativity ourishes, offering a refuge from the routine and a moment of introspection, while simultaneously helping us celebrate the beauty, challenges and complexities of our shared human experience.
highlighting the oy she finds hen an artist captures a familiar view in a unique, personal way. This merging of landscape and artistry is much more than a gallery collection; it’s a tribute to the bonds between place, person and painting.
For many, walking into an art gallery stirs emotions akin to stepping into a hidden world, where each piece holds a story that echoes the artist’s journey, vision and the surrounding environment. At Padstow Gallery, the heart and energy that Liz Francis brings to her curation celebrates the rugged Cornish landscape, where edges and boundaries – the intersections of land, sea, and sky – converge with personal expression. Liz eloquently describes this connection to the natural world,
by David Pearce
Art galleries such as this one thrive on fostering moments of connection. Here, a single piece can evoke the seascape of Cornwall or generate an emotional response through the observation of an abstract painting, pulling visitors into an intimate and tangible moment captured through the artist’s eye. It’s an experience that goes beyond merely admiring a painting on the wall. Instead, it is an invitation to ause, re ect, and connect deeply with the artist’s experience and the gallery space itself. Art galleries, through their curated environments, become conduits for this powerful exchange of emotions, memories, and inspirations. Such experiences are transformative. Standing before an original or , atrons are often moved in ays they hadn’t anticipated. This power to invoke emotions is what keeps people returning to galleries; they come seeking art, but leave with a renewed sense of self, their minds broadened, and their s irits lifted.
For Liz, Padstow Gallery’s vision goes beyond merely re ecting orn all’s ictures ue allure; it celebrates the individuality of each artist’s interpretation of it. “I absolutely love when an artist takes a view and makes it their own,” Liz shares, “each artwork becomes a window through which visitors can explore
the world through the artist’s eyes, capturing eeting moments on canvas. In this ay, Padstow Gallery’s collection is not just a testament to inspirational landscapes but also the distinct voices of its artists.
Liz’s journey to and through gallery o nershi is filled ith hat she calls little micro-highs” – moments of joy that come from witnessing visitors’ reactions, whether it’s a child smiling at a colourful painting or an adult deeply moved by a landscape that stirs a distant memory. “If I could bottle the ‘Oh, wows,’ it would be amazing,” she says with a smile. It’s these moments that make the hard work worthwhile, and it’s these moments that remind us of the profound impact that art – and, by extension, a place to experience art – has on our lives. It doesn’t matter if they depart with just a card or a large one-off oil ainting or nothing at all –it is what they have experienced whilst in the s ace that counts and hat fills her ith oy. If she has made people’s lives richer by what she has on display and caused them to view things differently via her intercedence, then it’s a life-a rming day.
This focus on connection has allowed adsto allery to ourish. he gallery has hosted countless exhibitions that highlight diverse voices, always aiming to broaden its community’s ex osure to different artistic styles and mediums. From still life paintings that capture the familiarity of favourite objects, to intricate ceramics that celebrate ex uisite craftsmanshi , each iece is chosen to ins ire visitors, encouraging them to find beauty in the world around.
Curating an art gallery is both an art and a science. Liz’s journey, from a background in animal science and business studies to becoming a gallery owner, speaks to the fusion of skills that make a gallery both aesthetically com elling and financially sustainable. ach piece in Padstow Gallery is part of a larger narrative, chosen not just for its visual appeal but for its ability to harmonise with other works and with the gallery’s own identity. Liz’s love for original artworks, mark-making, and
the tactile quality of handmade pieces shines through in each selection, turning the gallery into a storybook of artistic voices.
But the guiding force behind every decision remains personal. “At the heart of all our offerings is art that s ea s to me ersonally – it has to make my heart sing,” she says. Liz’s intuitive connection to the art she selects has been a cornerstone of the gallery’s success. Her choices are not just about what will sell but about what will resonate, create a conversation, and leave an impression.
This blend of business and creative intuition has allo ed adsto allery to ourish into its seventh year. But success, as Liz eloquently oints out, is not a singular definition. uccess isn’t a one-si e-fits-all. or some, it’s monetary; for others, it’s the prestige of recognition or simply the joy of sharing their vision.” For Liz, success is rooted in something much more profound. “For me, it’s about having a space that not only sustains itself financially but also celebrates the community and the art within. It’s about fostering growth – for both the artists and the gallery itself.”
Liz’s enthusiasm for her artists and their journeys is palpable. She doesn’t just display their work – she champions it, adding layers of meaning by sharing artists’ stories with visitors, helping them see beyond the surface. This dedication doesn’t go unnoticed, and the gallery’s atmosphere is vibrant with the energy of an extended family of artists, patrons, and visitors. It’s a symbiotic relationshi here the artists find su ort and exposure while the community gains access to authentic, lovingly curated art. Art galleries like Padstow Gallery are, as Liz aptly puts it, a celebration of community and creativity. And for the artists, it’s invaluable to have a gallerist who understands that their craft is as much about vulnerability as it is about expression. They pour their hearts into each iece, and, in return, i offers a safe s ace for that ex ression to ourish. Through years of exhibitions, events, and daily interactions, the gallery has nurtured a following that values its authenticity and
MIDDLE LEFT
Small vessels by Alex McCarthy
TOP LEFT
‘Summer Sands, mixed media, by Imogen Bone
ABOVE ‘ e ections’ by o llis
TOP RIGHT
‘ The Gentle Beauty of Summer’ Flowers by Amanda Hoskin
inclusiveness. This is evident in its approach to sourcing ne artists, hich often ha ens through personal recommendations from existing artists or friendly visits from creators inspired by the gallery’s mission. As Liz explains, she values “having a community of supportive creatives together,” one where artists and gallery patrons alike feel seen and valued. This relational approach to art curation has positioned Padstow Gallery as more than a place to view art; it’s a gathering space for those who appreciate the beauty of shared experiences.
The careful curation of the gallery means that visitors aren’t merely looking at individual pieces; they are moving through an interconnected tapestry of ideas, techniques, and perspectives. It is in this thoughtfully arranged s ace that eo le find the dee er meaning in art, discovering how it resonates with their own lives and memories. It’s this sensitivity to the ‘story’ of each piece that transforms a simple viewing into an immersive experience. This transformation is not limited to Padstow Gallery alone; it mirrors a global trend among independent galleries, which are recognising the importance of community and experiential value in an increasingly digital world.
Her dedication to creating a gallery ex erience that u lifts and connects eo le is a testament to the essential role that galleries play in our lives. This celebration of community, creativity and connection goes beyond the walls of the gallery itself, reaching into the homes and lives of its patrons who take pieces of those stories and joy with them, for Padstow Gallery doesn’t just welcome artists, it seeks also to cultivate art enthusiasts. By maintaining an approachable environment, Liz ensures that anyone who steps into the gallery feels comfortable engaging with art, regardless of their background. It is a space where every visitor can find a iece that resonates with them.
Supporting this unique experience, Padstow allery offers several services designed to
ease the journey of art appreciation. From national delivery and exible ayment options to personalised consultations and bespoke commission arrangements, the gallery ensures that bringing a piece of art into one’s home is an enjoyable and enriching process. These services make art ownership attainable and approachable, allowing clients to choose pieces that speak to them without concern for logistical barriers. Each service offered is a testament to the gallery’s dedication to making art not just accessible, but welcoming. The bespoke commission service, for instance, allows clients to work closely with an artist to create a piece that re ects their vision, be it ins ired by a cherished location or memory, or feeling. It’s a step toward democratising art ownership and nurturing a personal connection with both the piece and its creator.
Art, at its best, does more than decorate. It opens windows into new perspectives, ignites emotions, and connects us to the world in deeply personal ways. In this way, art is not a luxury but a lifeline – an enduring celebration of our shared humanity. Through outlets such as Padstow Gallery, we are reminded that art is as essential as any other form of nourishment. It feeds the soul, inspires the mind, and strengthens the community. As Liz Francis so passionately demonstrates through her curation, an art gallery is not just a place to buy art, galleries offer sanctuary for both artists and visitors alike, a space where stories come to life and where every brush stroke, contoured ceramic vessel, and intricate jewel tells a part of our collective human narrative. In a world that often em hasises s eed, e ciency, and screens, galleries provide a quiet but powerful reminder of the value of beauty, re ection, and connection. This is the enduring spirit of places like Padstow Gallery, where art continues to be a celebration of life itself.
The majority of Liz’s contributors are open to ri ate co issions. isit t e a ery to nd out more.
adsto a ery.co. k
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WORDS & IMAGES BY TIA LEVITAN
Journey into an artist-led, research community developing low-toxicity chemistries and practices in photography.
Are you an artist seeking innovative avenues? A farmer connecting to the earth? Someone with a love of nature? Or simply an interested reader? Discover The Sustainable Darkroom where the innovative crossover of art and science meets; an invitation to connect the worlds of photography and environmental awareness, pushing the conventional boundaries of our economic, ecological and artistic worlds. I had the honour of meeting with one of its founders, Hannah Fletcher, to talk about this small but impactful charity no in its fifth year, ho shared with me her thoughts and stories of how The Sustainable Darkroom came into being.
The charity is reachable across the UK and has strong ties with Cornwall. Project lead Edd Carr joined two years after annah started the charity and is a well-known artist and graduate of Falmouth University, whose speciality is in adapting photographic processes into moving images. Alice Cazenave became involved at the same time with more of a focus on the more scientific side of photography, exploring the interactions between ecologies and how they link to the analogue industry. Hannah’s involvement investigates the relationship between photographic and nonphotographic materials. The three came together quite organically. Hannah was sharing a studio with Alice, when she started to
Hannah Fletcher outside her studio
run residencies in research. Alice signed u as one of the first residents at he ustainable ar room and not long after Edd also began his own research residency. Moving to Leeds when his residency was over, he set up his own darkroom built under the rinci les he had learned. he space in Leeds later became known as the Northern Sustainable Darkroom and in the span of a year Edd and Alice became integral team members.
Participants can immerse themselves in a multifaceted experience; whether purchasing a book, engaging in enriching residencies, or tapping into a wellspring of knowledge through their Patreon subscription. Every penny goes back into the cause, whether that be for advance publication, nurturing upcoming residencies or establishing essential funding. As a charity, the aim is clear: to unlock larger funding pools in order to make creativity more accessible, as well as introducing the ecological side of photography to a wider demographic. Hannah told me that: “photography has a long history with colonialism and a very male, white dominated pedestal. With
this in mind we wanted to try and break down a lot of the negative constructs and ideologies, steering away from the unsettling trend of photography as a privileged and inaccessible art form. Accessibility very much intertwines with our ideas around sustainability. We want information to be accessible, both in terms of geography and demographic. As soon as something becomes accessible to everyone, in terms of equipment and knowledge, it immediately becomes more sustainable due to its longevity.”
Sustainable examples include using washing soda, which can be used to experiment with different textures and colours in cyanotypes, or employing the sun which affects ex osure and transfer of images onto different surfaces. Water too, hich can be used in many alternative photographic processes is another example and an integral part of the sustainability ethos that he ustainable ar room embodies.
he charity offers a ide range of workshops, from theory-based explorations to hands-on practical sessions. Participants are invited to join the dynamic
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Hannah Fletcher in her studio
trio and other residencies in trying some of the following processes: anthotypes, chloro hyll rinting, develo ing films with plants, plant-based chemistries, phytograms, pelargonium printing, soil chromatography, botanical cyanotype and more.
Anthotypes have been quite a hit with students interested in these alternative processes. Not only is it environmentally friendly, but it is also cost-e cient and completely fascinating. he rocess itself is quite simple. By mixing the juice of plants or food with alcohol, you then spread it on the surface of your choice. You then add the negative image onto the surface and leave it outside for a few days to catch the rays from the sun.
he significant online audience has hel ed he ustainable Darkroom create an annual workshop week where they move around the , embodying their commitment to ma ing their offerings accessible. While development and research is key within the project, the trio are also keen to disseminate their teaching as much as possible.
Beyond the allure of the aesthetic outcomes, these workshops serve a greater purpose: they seek to revolutionise the very essence of how we perceive photography. It is not just about the visual appeal they evoke, but it is about reshaping our expectations and challenging conventional notions of archivability. Additionally, rather than always looking for the next technical advancement, there is the endeavor to push the potential of what our natural environment can already offer us. Hannah goes on to say, “we are not the keepers of knowledge, we are the facilitators of collective gro th. his re ects the charity’s pillar of being an open community, sharing ideas and innovation with the common goal of shared benefit.
Follow The Sustainable Darkroom on Instagram to open up a whole new world of innovative changes. Or gain access to exclusive troubleshooting sessions led by the team on Discord, where each month t ey di e into a di erent tec ni e to address practical issues such as home-made developers, testing and temperatures.
sustainabledarkroom.com
sustainabledarkroom
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Eventide
The founder of a Cornish business is leading a sustainable mission across the Atlantic to raise £200,000 for charity. This December, Dan Dicker, founder of Perranporth-based sustainable drinkware brand Circular&Co., will row 3,000 miles of open ocean alongside friends Jason, Jon, and Steve. The team will take on the ‘World’s Toughest Row,’ starting in San Sebastian de La Gomera, Spain, and finishing in elson’s Dockyard, Antigua. Funds raised will support Diabetes UK, Cancer Research, and The Final Straw Foundation.
“This mission is about inspiring change and encouraging everyone to embrace circularity in their daily lives,” says Dan.
The challenge was o cially announced on 6th September at the University of Plymouth’s Marine Station, where local students explored the boat and learned about the crew’s sustainable approach. Reflecting on the journey, an said This idea started, as many of these things do, as a chat down the pub – and now we’re rowing the Atlantic! We’re thrilled to be raising funds for causes close to our hearts.”
Jason, a physiotherapist, will monitor the team’s physical and mental health, compiling reports to highlight resilience under challenging conditions. Teachers Jon and Steve plan to deliver live lessons from the Atlantic with the theme ‘We’re Changing Tomorrow Together.’ Their lessons will inspire global students to discuss marine pollution and environmental innovation.
The mission also includes collaboration with Professor Richard Thompson OBE of Plymouth University to track plastic pollution using satellite-based software.
The charities are deeply personal to the crew. Jason’s son, Jake, has lived with diabetes since the age of ten, Dan lost his mother to cancer, and The Final Straw Foundation aligns with their mission to keep oceans clean. Together, the team aims to inspire change through action and innovation.
Circular&Co. designs and manufactures a range of award-winning, Circular Reusables and Returnables, leading the transition away from single-use forever. Since its origins 20 years ago, the business has been driven by the sustainable principles of Circular Design. They believe in the power of scale for good and work with major corporations and brands advising on circularity and designing circular products into their supply chains.
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Dan Dicker
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