Forged within COMMUNITY
By heat, hammer and hand, a new beauty emerges, moulded to the anvil’s chime
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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
Crafted for purpose by Angus Wood, as featured from page 89. anguswoodblacksmith.co.uk
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Engine House Media LTD
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© 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
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TEAM
Foreword
As we find our lives increasingly defined by haste and impermanence, so we should make quiet enquiry into the essence of making, dwelling and living with intention. This offers up a still point – a place to reflect on the value of the hand-touched, the patiently crafted and the deeply considered. At its heart lies a reverence for tradition, not as nostalgia, but as a reminder of the wisdom embedded in slow, deliberate work. These very acts, drawing on the ways of old, are more than a means to an end. They create a conversation with time, an expression of being fully present. These practices remind us of our place in a lineage of makers who found meaning not in speed or scale, but in the precision of their craft. Jewellery designer Corrinne Eira Evans (26) designs luxurious, ethically focused pieces inspired by the beauty of Dartmoor, using textile-based
techniques. Artwork from Alastair and Fleur Mackie (39) is created from materials that are physically demanding to work with, and so the process becomes one of deep engagement, tying them to the landscape and the work to its timeline. Katy Warriner’s (50) traditional leather work is more than a trade; it’s a form of storytelling. Each piece has a history to which she adds her own story through the craftsmanship. Her process is painstakingly traditional. As is the case with blacksmith Angus Wood (89), whose work embodies both tradition and innovation. Yet all of this is not merely about the act of making; it is a way of seeing the world. It is an exploration of life lived in harmony with the cycles of nature, where the beauty of imperfection and the passage of time are embraced. In these pages, we hope you find not just inspiration but a sense of kinship with a quieter, truer rhythm.
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Providing life changing opportunities for young people across the UK www.diveprojectcornwall.co.uk
Martin Holman
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Mercedes Smith
Jamie Crocker
Rosie Cattrell
Lucy Studley
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DELIGHTFUL THREE BEDROOM, CONTEMPORARY, NEW BUILD PROPERTY WITH AN OPEN PLAN REVERSE LEVEL LIVING LAYOUT ENJOYING IMPRESSIVE VIEWS OVER THE RIVER CAMEL LOCATED WITHIN WALKING DISTANCE OF PADSTOW HARBOUR.
15 FINDING A VOICE
At a glance
Through the lens of Doon Williams
26 PRECIOUS GEMS
Jewellery designer Corrinne Eira Evans makes pieces inspired by the beauty of Dartmoor
39 CONNECTIONS ACROSS TIME
Alastair and Fleur Mackie’s artworks underline the dynamic processes that connect mankind with supernova
50 A STITCH IN TIME
At the heart of Katy Warriner’s life and work
62 COASTAL ALE TRAILS
One brewery, two pubs – wrapped within the wild wonders of a shifting Cornish landscape
70 LUXURY HOMES
At the pinnacle of the Cornish market
80 THE EBB OF A DIFFERENT TIDE
Finding solace by the sea at SeaSpace, with an off-season adventure
89 FORGED WITHIN COMMUNITY
By heat, hammer and hand, a new beauty emerges, moulded to the anvil’s chime
100 MEANINGFUL MOMENTS
Through the lens of Nick Bailey
113 INTO THE UNKNOWN
A journey energised by colour and abstraction, one that is pure imagination
122 EVENTIDE
The last word – empowering parents
FindingVOICE a
WORDS BY HANNAH TAPPING
Through the lens of photographer Doon Williams, capturing the essence of people and place.
Doon Williams is a north Cornwall-based photographer. Having grown up in the area, she went on to work as an art director in film and television for ten years in London after finishing her degree at Falmouth Art School. The pull of Cornwall was too great to ignore though and she finally returned to Cornwall to start a new career as a photographer in 2013. The transition between art director and photographer was a natural one, and felt like the perfect follow on from life in the exciting and wildly hectic film industry. She now lives on a farm in Port Quin with her husband and her two children.
Her main passion throughout her life has been a love for the ocean. Having grown up in and on the ocean, she has spent a lifetime studying it in its many states and forms. From sailing as a child on tall ships to surfing through the year with her own children, she has never been far from the sea. Doon is an ocean storyteller for the global charity and community Ocean Culture Life which has been an amazing source of inspiration for all she does. The charity supports the protection and understanding of the oceans and the ever-
growing pool of storytellers who share their stories with the world.
Doon’s seascape prints come from her time spent flying her drone over the open water, and swimming in amongst the waves with her water housing. Many hours have been spent on boats searching for wildlife and sitting on cliffs waiting for the perfect light.
Doon works as both a commercial and a seascape photographer. Within the sphere of her commercial photography she specialises in interiors, environmental portrait, artist’s portraits and product photography. She has developed a strong female client base in and out of the county over the years and is an avid supporter of female artists, business owners and entrepreneurs. She feels strongly about the importance of the female voice, especially in business and particularly in Cornwall and hopes that her visual storytelling has helped women to tell their stories throughout the UK.
Doon’s limited-edition prints are available to buy from her print shop online.
doonwilliams.com
Doon Williams
ABOVE A View From The Rumps
ABOVE
June At Pedn Vounder
ABOVE
Nina Brooke
TOP Kasabian at Eden
Precious GEMS
WORDS BY MERCEDES SMITH
Jewellery designer Corrinne Eira Evans makes luxurious, ethically focused pieces inspired by the beauty of Dartmoor.
At her Okehampton gallery on a cold winter’s day, Corrinne Eira Evans opens a glass display case with her key and lets me slide a spectacular sapphire and gold ring onto my finger. My Wednesdays don’t usually involve this kind of luxury experience, and I have never worn a ring so beautiful or so valuable before. I try to prolong the moment, stretching my arm out and admiring the ring with genuine longing as it sparkles with warmth in the cool November light. Titled Sunset Over Dartmoor, it is a unique work of art, hand crafted using 18 carat Single Mine Origin gold, and 1.5 carats of ethically mined pink Madagascan sapphire. Corrinne makes bridal, bespoke and handcrafted collections of jewellery inspired by the colours and textures of Dartmoor.
Using textile-based techniques, her work is defined by silken fabrics of woven gold and silver, intricately linked in a fine chainmail that moves fluidly against the skin. “I love the way something as solid as precious metal can be made to drape so beautifully, to make an everlasting fabric,” she says.
Corrinne was born in Liskeard, Cornwall, and had her first taste of jewellery making on a work experience week, aged fourteen. “I worked for a bespoke jeweller,” says Corrinne, “and he instilled so much confidence in me. He gave me projects to complete in real gold, so his trust in me was amazing. I fell in love with jewellery right there.”
Among her GCSEs at Liskeard Community College she studied Textile Art, developing
‘Moorland Glow’ bracelet, 18ct SMO gold
Corrinne Eira Evans sketching on Dartmoor
a fascination with fabric techniques, and then joined a six-week summer school programme at Plymouth College of Art. “We were encouraged to try all manner of jewellery techniques there,” she tells me, “I learned so much.” She went on to study Applied Arts at Plymouth, followed by Jewellery and Silversmithing at the famous Birmingham School of Jewellery in the heart of the city’s Jewellery Quarter, “making everything from silver teapots to fine diamond rings,” says Corrinne. Jewellery students are expected to source and pay for their own materials, so she quickly developed an understanding of the gem market. “Studying in the Jewellery Quarter taught me much more than creative and technical things. We were regularly sent to buy gemstones from dealers, which meant pressing doorbells to request access, giving ID for security, and then passing through numerous locked doors into rooms full of sapphires and rubies. It was thrilling!”
From Birmingham, she went on to Falmouth University and graduated with a BA Hons in Contemporary Craft, but then, like so many young art graduates, felt locked out of the seemingly inaccessible world of professional art and design. “I didn’t know how to approach galleries or market myself at all,” says Corrinne. “Degree courses just don’t seem to teach you those essential skills. I applied to shows and craft fairs, but I had to do part time jobs to make ends meet, and for a while I just felt lost.” What
came next though, altered hers and all our lives. “It was the pandemic that changed everything,” she says simply. “Like a lot of people, I thought ‘what if I don’t survive this, without ever having done what I really wanted to?’ Before lockdown I had been working in jewellery workshops, making commissions under someone else’s brand, and I suddenly thought, ‘why am I doing this?’ I realised I could do it better under my own name. It was an epiphany moment. I think a lot of people felt that way in the pandemic. It was a clarifying experience. I had always known I was on the right path, I just needed to commit, to really go for it.”
This makes sense to me, I tell her. Whenever I lecture, I tell students that success in the arts is almost entirely down to commitment: artists who succeed are those who decide to succeed, who commit to plan A and drop any thought of a plan B. Corrinne began by using lockdown to make a complete jewellery collection inspired by the landscape of Dartmoor, for London’s annual Goldsmiths Fair, which showcases work by the UK’s best jewellers and silversmiths. “I refocused on the beauty of the moor and on making drawings, taking shapes and patterns from the landscape and working them into my jewellery designs,” says Corrinne. Back in her studio, she worked with gold for summer sunlight on the hills, silver for starlight and winter frosts, and titanium for the grey black of Dartmoor and granite, creating flowing designs in draped precious metals. “I made
CREATE
fifty pieces of jewellery,” says Corrinne, “necklaces, rings, earrings and bangles – and I applied and was accepted for Goldsmiths’ 2022 exhibition.”
Her talent and commitment were instantly rewarded: “Goldsmiths chose one of my bangles to promote that 2022, 40th Anniversary Fair, and British Vogue chose one of my brooches for their magazine, which really raised my profile.” Encouraged by such prestigious recognition, Corrinne applied to Goldsmiths Fair again the following year, presenting work that included gemstones for the very first time. “That first gemstone ring was created using a Salt and Pepper diamond, which has lots of inclusions,” she says of the tiny flaws that might once have been considered undesirable in the jewellery market. “Authentic, naturally flawed gems
PREVIOUS
One Of A Kind Ring Collection
are becoming more popular because they are incredibly beautiful, and because our attitude to gemstones is changing. The jewellery industry sees beauty in different ways now, and we have changed our attitude to what is rare and precious in the world.” This is most obvious in the recent proliferation of lab grown diamond marketing, by an industry that is listening to the ethical concerns of its clientele. “I use antique diamonds though,” says Corrinne, “which are lovely, and were originally hand cut to sparkle in candlelight.” She occasionally uses ethically mined diamonds, but works mostly with sapphires, “because they are a really hard gem, so for practicality and wear they match diamonds, and they come in so many beautiful colours, from soft pastels to vibrant blues, greens, yellows, pinks, purples and whites.”
ABOVE
One Of A Kind Collection. 18ct yellow and white SMO gold & natural sapphires
ABOVE
‘Sunlit Tors’ Bangle Bracelet, Recycled silver, 18ct yellow gold and titanium
TOP
‘Wild Gorse’ chainmail SMO 18ct gold and Australian natural green sapphire ring
ABOVE
‘Sunset Over Dartmoor’ Chainmail Ring, Pink Sapphire & 18ct gold
TOP
‘SunRay’ Earrings, Australian Parti Sapphires, Antique diamonds and 18ct SMO gold
ABOVE
Hand Stitched Leather Presentation Boxes by Dartmoor’s LG Leather Works
Interior Design by Millard & Flo
ABOVE Corrinne selecting gemstones for new designs
Image Credit: Beth
Kath Key Photography
Image Credit: Beth Cath Key Photography
Keeping ethical concerns at the forefront of her practice, Corrinne only uses fully traceable, Single Mine Origin gold and silver, and existing or ethically sourced gemstones, and every piece she makes is SMO hallmarked alongside her official Assay Office maker’s mark. “I had always worked with recycled gold and silver,” says Corrinne, “but over time I began to understand that industry recycled metals were not as ethical as we had been led to believe, because so many chemicals are involved. That’s when I committed to recycling in-house, simply smelting metals down cleanly without chemicals, and investing in ethically mined metals. Gold and silver will always be mined for industries like computer tech, so supporting ethical mines feels right, because it helps fund environmentally focused practices and infrastructure. I also source my gemstones from a Canadian company who only use ethical and environmentally friendly mines.” For Corrinne’s clients, that makes buying or commissioning jewellery an entirely ‘feel good’ experience. “Jewellery
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‘Dartmoor At Dusk’ Ring and ‘Moorland Glow’ bracelet
is a very personal acquisition, and I think the idea of it as an heirloom is always a consideration,” says Corrinne.
“People think carefully about where a jewel has come from and who it will go to next. When jewellery is passed down, a story is passed down with it, of how and why it was created. My buyers are aware of my ethical approach, and I get to know all my clients personally, especially if they commission a bespoke piece, and there is meaning in that. Investing in jewellery is very much about trust, these are precious items, given to mark engagements, special birthdays, marriages, or to celebrate the arrival of children. They are incredibly special, and are always, always tokens of love to last a lifetime.”
See Corrinne‘s work at corrinneeiraevans. com, or visit her studio gallery Moon & Moor at 19 The Victorian Arcade, Okehampton EX20 1EX. All images © Beth Kath Key Photography.
corrinneeiraevans.com
ABOVE
‘Moorland Glow’ chainmail bangle bracelet handcrafted from SMO 18ct yellow & white gold
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Connections ACROSS TIME
WORDS BY MARTIN HOLMAN
Alastair and Fleur Mackie’s artworks underline the dynamic processes at work in the universe that connect mankind with supernova.
When a star explodes into a bright supernova, a shock wave sends ripples through the fabric of the universe. That wave compresses into passing molecules of stardust, heavy chemical elements from the star’s surface, among them gold. In 2017 cameras penetrated deep space and photographed such a cataclysm and, maybe, helped solve the mystery of the metal’s origins on our planet.
Over millennia, particles of gold from meteorites sank to the Earth’s core, too deep and hot for any human to reach. But some rested on the crust. People found ways to mine them; but the difficulty involved still accounts for the great value mankind attaches to gold. The vast forces that propelled its journey into human hands fascinate two artists who have merged their practices into a single creative entity. In 2019, Alastair and Fleur Mackie set out to strike gold – not in South Africa or the Klondyke but in rural Cornwall.
The county is not traditionally associated with the rare, precious element. But recent archaeological research is revealing that south-west Britain experienced a prehistoric gold rush. Whereas large quantities of tin were being exported in early Bronze Age Cornwall, kilos of gold were also extracted from the sand and gravels of local rivers.
The Mackies’ aim, however, was not to create a haven for investment. After all, this was an artistic project with sights set elsewhere than on great wealth. Moreover, deposits in the headwaters 4,000 years ago would have been very much richer than now. Sufficient gold was mined to supply ancient craftsmen, and these artefacts survive today in museums in London, Dublin, Edinburgh and Truro. “Materials,” Alastair says, “are pre-loaded with significance when they come into our environment.” These artists’ work characteristically recycles what they find in nature, both organic and man-made.
Alastair Mackie panning for gold, 2019
ABOVE
Complex System 123 (detail)
TOP Complex System 123 & 124, 2016, Cuttlebone, 97 x 78 x 5cm each part framed
Photograph by Ian Kingsnorth
Their methods synthesise awareness of the vast systems and processes which transport those materials through time and distance into the formal properties of their objects, through the ideas and actions that bring them into being.
The results of often complex strategies, their graceful objects belie the formidable amount of toil required to create them. Labour, Alastair insists, is integral to the process: “It contributes to the energy we want our work to project. Some materials are physically demanding to work with, and the process itself becomes one of deep engagement, tying us to the landscape and the work to its timeline.”
Repeated actions permeate the duo’s practice. Panning for gold is one example. After two months spent sifting gravel hour upon hour and day after day, the ground yielded 10 grams of gold. Compressed into a morsel smaller than a fingernail, a nugget resulted with a purity of 23.7 karats. What will it become? “We will reconfigure what we found,” Alastair says, “as our ancestors did, working material that existed in the earth for hundreds of thousands of years. Man intervenes to continue its evolution towards beauty, value and function.”
Finding, extracting, selecting and reshaping are the unseen aspects of their activity. Most projects include this arduous, almost performative dimension; it is the end-product that reveals itself physically in dramatic fashion. In 2023 Fleur and Alastair installed a large oak stump at Tremenheere Sculpture Gardens. What singles out this mass of wood from the park’s curated trees and shrubs is its incongruous
type of display. Mounted on simple steel props sunk into a neat, rectilinear concrete platform, the contrast with its surroundings is stark. Its presence is curiously modified to stand out from rather than merge with its kin of natural forms.
The metal props are like giant fingers that, if they were our own, might hold a precious sample in a lab or turn a beautiful jewel in the light to appreciate its details. Time and growth are registered in folds and crevices within its tannin-rich tonality like evidence of centuries of patient development. Heartwood lies at the core of a tree: it is strong and durable, possessing the toughness of steel. Come upon by visitors near the top of the gardens, the exuberance of detail, deep colour, grandeur and surprise seem to share properties with the sculptures found in the open and covered expanses around it.
The piece has the spirit of the Baroque, the florid historical style that emerged in the fine arts, decoration and architecture of the 17th century. Links to other art forms often stalk the artists’ transformations. They prepared the dried-out wood with water and sand blasting, then sealed the remaining material with a natural oil. Sitting elevated now above ground that once its roots penetrated for survival, the carcass of the tree exists in suspension between reality and fantasy. It would be at home in Versailles. Yet the Mackies have titled the piece From This Day On, a phrase which stresses its future rather than the past.
Living and working close to the north Cornwall coast since 2011, the pair’s surroundings play a part in their evolving
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From This Day On, 2023, Oak, concrete, steel, 300 x 300 x 165, Tremenheere Sculpture Gardens
TOP LEFT
Fleur Mackie at Tregardock Beach
collecting trawl floats, 2023
TOP RIGHT
Epitaph, 2014, Found boulder, off-cut material, canvas, frame, Dimensions variable
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Mud Form, 2015, River Avon mud, 12 x 9 x 9cm
Photograph by Artur Tixiliski
ABOVE LEFT
Mud Form, 2015, work in progress
ABOVE RIGHT
The Well, 2013, Egg shells, wenge, steel, 172 x 57 x 57cm
Photograph by Ian Stewart
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One Mile Line, 2024, Monofilament, aluminium, 220 x 826 x 5cm
Photograph by Ian Kingsnorth
TOP LEFT
One Mile Line, 2024, Monofilament, work in progress
TOP RIGHT
One Mile Line, 2024, Monofilament, detail
Photograph by Steve Tanner
way of working. “Time spent in the landscape is as important as our time in the studio.” Alastair knows that environment well, having been brought up on his parents’ 128-acre farm south-east of Bodmin. The rhythms of farming made an impression on him as a teenager, of sheep lambing in spring and harvest from late summer. From a highpoint he would watch neighbouring farms following the same patterns of activity as his home, manifesting cycles of cultivation so old they are embedded in instinct.
Fleur and Alastair walk on nearby beaches most days. Moving to a cottage near Tregardock gave them access to locations where all manner of materials wash through the tides with potential to become objects. They do not classify themselves as ‘environmental artists’ per-se, though they acknowledge the relevance of the term. Rather than explicitly issuing warnings about climate erosion, they believe the materials they work with can carry those messages inherently. “Other artists focus on telling that story, and we deeply respect and admire their work,” they explain. “Their art delivers vital messages. But for us, the warnings are already embedded in the materials themselves.”
Instead, the pair’s task seems to be to continue those itinerant materials on their travels. They organise them, even rationalise them to connect their finds’ intrinsic properties with the human aesthetic sphere. “In a sense,” Alastair adds, “our intervention is an act of reciprocity.”
That was the case with floats separated from fishing nets. Washed into cracks and caves punctuating the cliffs behind Tregardock
beach, this man-made, maritime detritus speckled the harsh, slate grey rocks with spots of colour. Perhaps it was that contrast that first drew the duo to collecting the abandoned globes. Fleur and Alastair took a lump hammer onto the beach, and an aluminium ladder to reach plastic lodged high in the cliff. Over the course of a year, they gathered 51 trawl floats as well as bags of unevenly shaped plastic shards.
But how to use them? Each piece was distinguished by a single synthetic colour – red, blue, white, yellow. Sizes also varied and within the serial attitude of Modernism, a cultural idiom that utilises elemental qualities of line, colour, repetition and surface, their sculptural potential was strong. The bright plastic jetsam, whole and in fragments, suggested lightness, movement and travel, even gaiety – blameless but invasive gatecrashers on nature.
The result was a series titled Four Stacks (2024). Floats were assembled into columns in rocky coves they had drifted into on tides. The vertical composition has no arcane colour coding; the order is as random as mankind can make it. Threaded onto a 2.6m pole in stainless steel, the stacks appear both in strange harmony with their surroundings and as disjointed presences. Like the tree at Tremenheere, they are both part and apart from their surroundings.
And they survive as photographs. Highdefinition images record an existence inseparable from the two-mile stretch between Tregardock and Barrett’s Zawn where they were found. Synthetic in form and colour, these Anthropocene presences mimic the rock stacks occurring naturally nearby.
So, the Mackies’ work resembles propositions. Like ripples in a pool from a dropped stone, thoughts radiate out of the objects and the situations that caused them like a chain reaction.
Compression is at the core of what they make: they break down in order to build up anew in some altered form. They once reduced a wall drawing made with River Avon mud in the New Art Gallery, Walsall, by the celebrated British conceptual artist Richard Long. After its exhibition, Fleur and Alastair washed away the composition with sponges. Then they filtered the muddy residue from the water and dried it into a stubby cylinder of soil, thereby returning the drawing to its constituent medium. In the process, they created a new conceptual artwork, a tantalisingly mute hypothesis about reuse and how nature’s cycles flow.
Both these artists had art school training. Since childhood, Alastair had been making objects on the farm so a career in art rather than agriculture was inevitable. At City and Guilds of London Art School in the late 1990s he searched out his own voice. Interest graduated from figurative sculpture onto a conceptual route, influenced by tutors like Amikam Toren and John Frankland, figures already well established in the capital’s progressive gallery scene. It was at City and Guilds that he met Fleur, an illustration student whose upbringing in Cameroon, France and Hampshire had also brought her close to nature and a keen sense of design.
Independent careers followed in London. Alastair sold work to Charles Saatchi and showed with Max Wigram, a dealer close to the “YBA” phenomenon symbolised by
Tracey Emin and Damien Hirst. Fleur’s illustrations appeared in books. But underlying those highpoints was the reality of the artist’s life; maintaining a home and studios with mundane commercial jobs left little time for creativity.
Both resolved to take a chance and dedicate themselves to their careers. For that, Cornwall was a more sympathetic setting and nurtured their growth as artists who often consulted each other. So, the couple merged their practices around 2016, formalising it three years later when gold entered their lives.
They work closely together. The making of One Mile Line (2024) had the couple teasing apart tiny knots in skeins of recreational fishing line that the currents tightly tangled. Sitting across from one another, Fleur would hand a length carefully unpicked from clumps of sea-twisted filament to Alastair, who pulled it through leather to straighten it out. And that happened over and over; after a few hours, they would switch roles.
Repetition is the heart of process. Processing finds collected from three coves, such as Greenaway Beach, through their hands, says Fleur, “helped us make sense of the material. Working like this binds us, in an intimate sense, to both the material and the landscape it comes from. How then to take it forward also becomes clearer.”
Having separated out scores of pieces of the strong plastic string, they reconstructed a longer line. In a mix of a system and chance that tied clear sections to variously coloured lengths, after twelve weeks of working eight hours each day, the total
stretched to three metres over a mile. Why a mile? “We aimed for that: a nice, round number, a quantifiable space.”
To articulate that process visually, they devised a form of display, just as with the stump at Tremenheere. The line was threaded horizontally between six uprights, wall-mounted in pairs, into which pegs were placed at regular intervals. As the line was played out, it curled around each peg in a forward and back motion still sensed by looking at its entirety. The miniscule knots occur at regular intervals, like punctuation in writing. The alternation between colours of line implies another type of movement, like the intersecting sea currents that had filleted and filtered, twisted and tumbled the discarded lines into the unwieldy hanks the artists had picked up.
Circles, loops and lines constitute a visual language for the Mackies. In Untitled (sphere) 2010, a filigree of tiny mouse skulls is laboriously constructed from leftovers collected in barns where owls fed. When the artists intervene, an elegant form emerges from which thoughts about natural cycles of existence spill. Links and connections proliferate through the pairs thoughtful processing of the universe that draws the imagination back into the ways of the world. We are not a species apart from the ground where Alastair and Fleur panned the gravel. For the adult human body contains about 0.2 milligrams of gold.
All images and artworks © Alastair and Fleur Mackie.
afmackie.com
ABOVE RIGHT
Untitled (sphere), 2010, Mouse skulls, 26cm x 26cm x 26cm
Astitch TIME in
WORDS BY HANNAH TAPPING
The rhythmic pull of a needle through leather, the rich scent of oak bark tannins, and the enduring tradition of craftsmanship are at the heart of Katy Warriner’s life and work.
In a small corner of Devon, Katy Warriner has carved out a unique space as a leather maker, educator and storyteller – a journey as winding and textured as the paths she’s taken to arrive here. “I’ve always been a traveller,” Katy begins, her hands busy stitching a piece of rich dark leather at her workbench. “My dad left when I was seven, and I’d travel to see him wherever he was. By the time I was 15, I had this chance to leave Cornwall and take an apprenticeship on a horse estate. I was young but I just wanted to do it.”
Her early days were spent surrounded by the quiet majesty of Surrey’s countryside, learning about horses, land management and the rhythms of estate life. “It was very D. H. Lawrence,” she jokes, “there was even a gamekeeper romance.” This deep connection to craft and the countryside set the foundation for Katy’s later work.
But the journey from Surrey to her current role was anything but linear. Katy’s life
has been a tapestry of experiences: “After leaving the job in Surrey, I ended up in Central America and I lived in Guatemala for a few years. I was involved in a lot of volunteering projects there, which were amazing. I came home when I was 23, and was completely lost. I didn’t know what to do with my life and then a friend of mine got me into festivals work. My first ever festival job was standing in a car park at Beautiful Days Festival in Devon. At the end of my stint, the boss said to me, “Do you want to come and work for us full time next year?” I did, and ended up running blue gate, one of the crew gates of Glastonbury. Festivals are a universe of their own,” she explains. “It’s a place where all these misfits come together and suddenly have a purpose. It’s this bubble of creativity and belonging.”
Katy recalls the camaraderie and chaos of her festival years fondly. “You’d be in a field, living out of your truck, cooking over a fire at night. It felt like freedom, but with a safety net. The festival fence
kept the chaos manageable. We didn’t really know who we were or who we were supposed to be, and somehow that weirdness manifested itself inside a fence at a festival where we could all just be weird together. It was almost like having another universe, where you can exist and no one questions who you are, or what you’re doing, or why you’re doing it, but everybody fits together. We were all outsiders in a sense, but suddenly we had a purpose and a place, a personality and a character and that was our life “Weirdly, it’s a lot like leather work – structured creativity within a framework.”
Katy’s introduction to leather making came on her 30th birthday, when she treated herself to a two-day course with John Haggar at Tanner Bates in Dartington. “We made a belt on the first day and John talked a lot about J&FJ Baker & Co, the last oak bark tannery in the country. It struck a chord with me. I was fascinated by the fact they were one of the only tanneries in the country that actually uses British leather or British hides, with the oak bark sourced from Cumbria.”
“I’ve never thought of myself as creative and I really am terrible at drawing, but
suddenly I found a medium that I wanted to work with”. Katy’s fascination with leather – a material steeped in tradition, durability and character – quickly became an obsession. “John gave me lots of scraps of leather that I could go home and practice with. I bought a couple of tools from him and literally practiced until my hands were bleeding. I got my first commission from a photographer who wanted a bespoke camera harness made and I haven’t looked back. Katy spent hours practicing at home, her hands blistered but determined. “I’d always known I wanted to work with leather. By the time I was 12, I’d told my mum I wanted to make saddles and bridles. This was like coming full circle.”
With the creation of Warriner Leather, Katy’s work now centres around bespoke commissions – from intricate horse harnesses to custom leather bags. “Each piece is personal,” she says, holding up a delicate strap she’s working on for a local client. “I source most of my leather from J&FJ Baker in Devon. The tanning process is much slower there than elsewhere, but the leather has so much more soul.” Katy is particular about her materials. “I don’t work with chrometanned leather,” she tells me firmly.
ABOVE
Katy in her Devon workshop
Image © Paul Read Photography
“It’s a cheap, fast process that leaves you with a product that has no life. Vegetable tanning, on the other hand, takes months, but it creates something that lasts a lifetime. It’s about honouring the material and the craft.”
To Katy, leather work is more than a trade; it’s a form of storytelling. “Every piece has a history,” she explains. “You can see the life of the animal in the hide – the marks, the texture. And then you add your own story through the craftsmanship.”
Her process is painstakingly traditional. She demonstrates the saddle stitch to me, a hand-sewn technique that’s stronger than machine stitching. “It’s all about durability,” she says. “With a saddle stitch, if one thread breaks, the rest of the seam holds. It’s labour-intensive, but worth it.”
The physical toll of the work is undeniable. Katy grins as she rubs her shoulder. “I have a regular sports massage to keep me going. This job is hard on the body, but I wouldn’t trade it for anything.”
Her dedication has earned her a loyal following, from local farmers commissioning horse harnesses to highend clients seeking bespoke bags. She’s also ventured into television work, creating leather props for film productions. As we talk, I can see that Katy has a really spiritual connection to her craft which goes beyond the physical. For her, working with leather has a meditative quality.
“There’s something deeply grounding about working with your hands,” she says. “The rhythm of stitching, the feel of the leather – it connects you to something bigger. It’s a reminder of our history and our place in the world.”
This connection is evident in her workshop, a space that feels more like a sanctuary than a studio. The walls are lined with tools, many of which have been passed down or sourced from antique markets. “Each tool has its own story,” she explains, “using them feels like carrying on a legacy.” Katy’s respect for tradition is matched by her desire to innovate. “I’m always looking for ways to make my work more sustainable,” she says. “Whether it’s finding local suppliers or experimenting with vegetable dyes, I want to create pieces that honour the past while looking toward the future.”
This ethos extends beyond her craft. She’s a passionate advocate for sustainable practices and local sourcing. “We’ve lost so many of our traditional industries,” she laments. “Tanneries, wool and linen mills – they’ve disappeared in the last century. It’s heartbreaking.” Katy believes in living simply and consciously. “I always tell people to think like their grandparents. They had one pair of leather boots, one wool jumper. They repaired, reused, and respected their belongings. We’ve lost that connection.”
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ABOVE
Forager’s trug
Images ©Katy Warriner
TOP Classic waist belt with vintage harness buckle
Private commission custom suitacse
Images ©Katy Warriner ABOVE
Forager’s mini trug
CREATE
Katy’s work is a quiet rebellion against disposable culture. “Leather boots can last a lifetime if you care for them. A leather bag becomes more beautiful with age. It’s about investing in quality, not quantity.” She’s equally vocal about education. “Activism isn’t my thing,” Katy says. “I prefer to educate. People don’t realise the impact of their choices. It’s about taking small steps – buying from a farmer’s market, choosing natural materials, supporting local craftspeople. It all adds up.”
As a member of the South West England Fibreshed – a global movement of regional initiatives that are rebuilding local, equitable textile and clothing systems based on agroecological farming and soil to soil production – Katy is proud to be a part of a community of fibre and dye growers, processors, makers and manufacturers who are reimagining how the South West can produce home-grown textiles and garments in a more healthy and resilient ecosystem.
In line with this, Katy sees herself as part of a broader movement to revive traditional crafts. “There’s a real hunger for authenticity right now,” she says. “People are tired of mass production. They want to know the story behind what they buy.” She’s committed to sharing her knowledge with others, whether through workshops or informal mentorship. “Craftsmanship is about community,” she says. “It’s about connecting with others who share your passion and passing on what you’ve learned.”
Katy also collaborates with other artisans, from basket makers to potters, to create unique, interdisciplinary pieces. “There’s so much we can learn from each other,”
she says. “Working together keeps the craft alive.”
Katy’s ambitions stretch beyond her workshop. She recently completed her training as a qualified saddle and harness maker at the Saddlery Training center in Salisbury, under the watchful guidance of Master Saddler Mark Romain MBE. “I owe him everything,” says Katy, “I trained under him for four years and I am honoured and forever grateful that he was, and always be my master.” Katy dreams of earning the title of Master Saddler and Master Harness Maker herself in the future, something she is continuing to work towards. “It’s about pushing myself and preserving these skills,” she says. She’s also committed to mentoring the next generation of artisans. “Craftsmanship is a form of storytelling, and we need to pass those stories on. It’s not just about making things; it’s about connection – to history, to materials, to each other.”
Katy’s journey has been a celebration of curiosity and resilience. As we finish our conversation, Katy leans back with a satisfied smile. “At the end of the day, it’s about making something that lasts. Something that matters. That’s the beauty of it.” There’s a pause, before Katy adds, “You know, this life isn’t always easy, but it’s meaningful. When I’m working with leather, I’m not just making something functional –I’m creating a legacy, one piece at a time.”
She looks at the tools on her bench, the history they hold, and smiles again. “That’s all I’ve ever wanted.”
warrinerleather.co.uk
Coastal ALE TRAILS
WORDS BY JAMIE CROCKER
One brewery, two pubs – wrapped within the wild wonders of a shifting Cornish landscape
Winter and spring in Cornwall reveal a more contemplative side of this celebrated county. Stripped of summer’s crowds, its zig-zagging coastlines, cosy pubs and vibrant culture come into sharper focus, offering moments for reflection and contemplation in equal measure. At the heart of this quieter Cornwall are the pubs managed by St Austell Brewery – flag wavers of Cornish hospitality that meld flavoursome ales and hearty food with welcoming atmospheres. Among them, the Old Success Inn in Sennen Cove and the Ship Inn in Mousehole are particularly enticing destinations, embodying the best of Cornwall’s appeal.
Perched at the end of the golden curve of Sennen Cove, the Old Success Inn has been quenching the thirst of many a quaffer since 1671. Here, the might of the Atlantic meets the warmth of a quintessential pub, making it a sanctuary for walkers, surfers, and those simply seeking solace by the sea. From the inn’s vantage point, Whitesand Bay unfurls in dramatic splendour – a scene both bracing in winter’s gusts and inviting under spring’s lengthening light.
After a windswept walk or an invigorating dip in the clear waters, patrons are drawn back to the Old Success Inn for its fine seasonal menu. South West produce takes pride of place, with dishes that speak of the region’s culinary
heritage. Mixing such fare with a pint of Tribute, Korev lager, or the hoppy Proper Job elevates the experience. And for those seeking refreshment without the alcohol, there’s Proper Job 0.5%, which boasts all the bright, citrusy notes and resinous pine of the original but allows you to maintain a clearer head.
For night owls with a penchant for wonder, a short drive inland brings you to the West Penwith Dark Sky Park. Officially recognised for its inky black heavens, this park offers an unmatched opportunity to see the cosmos in all its glory. Whether you catch a meteor streaking across the sky or simply wish to marvel at the Milky Way’s luminous sprawl, the experience underscores Cornwall’s elemental beauty.
Beyond the pub and its nearby beach, Sennen Cove is a draw for outdoor enthusiasts. Try surfing with one of the local surf schools, where expert instructors guide beginners through their first waves. For those more grounded, the surrounding area is crisscrossed with walking trails that showcase the region’s raw beauty. A trek to Mayon Cliff reveals a panorama of rolling hills and dramatic seas punctuated by glimpses of wildlife such as seals and seabirds.
A little further east lies Mousehole, a village that seems as though it’s been lifted from a storybook. Narrow lanes wind down to a picturesque harbour, where fishing boats bob alongside the tide. It’s a place that thrives on its traditions, none more famous
than the Stargazy pie – a curious dish of fish and pastry immortalised in Cornish lore. But visit Mousehole in December, and you’ll find another spectacle: its legendary Christmas lights. Draped along the harbour walls and reflected in the rippling water, this festive display has been warming winter hearts for decades.
At the centre of this enchantment is the Ship Inn. Built in the 18th century, its façade glows softly under the lights, beckoning visitors inside. Here, low beams and timeworn floors speak of a history intertwined with the sea. Walls adorned with maritime memorabilia recall Mousehole’s fishing heritage, while the snug interior – complete with roaring fire – offers an irresistible retreat from the cold.
The Ship Inn’s hospitality extends beyond its cosy confines, with a menu celebrating local bounty. Fresh seafood, Cornish cheeses, and the brewery’s finest ales take centre stage. Raise a glass of Tribute to the harbour’s history or sip Proper Job 0.5% while marvelling at the interplay of past and present that defines this special place.
Mousehole’s charm extends into its surroundings. A short walk along the South West Coast Path brings you to Lamorna Cove, a secluded bay that has inspired countless artists over the years. Further afield, the nearby Newlyn Art Gallery and The Exchange provide a cultural counterpoint, showcasing contemporary works that reflect the vibrancy of Cornwall’s artistic scene.
ABOVE Experience the charm of the Old Success Inn
ABOVE AND OPPOSITE
Harbour views, seaside charm and dining with a picturesque backdrop – the Ship Inn in Mousehole captures it all
Both the Old Success Inn and the Ship Inn offer more than exceptional food and drink; they’re launchpads for adventures that deepen your connection to Cornwall. From Sennen Cove, the South West Coast Path opens like an invitation to explore. Head west to Land’s End, where rugged cliffs plunge dramatically into the sea, or journey east toward Cape Cornwall, a lesser-known but equally captivating promontory that was once believed to be the mainland’s most westerly point.
In Mousehole, a gentle stroll along the harbour provides moments of quiet delight, but for those in search of something grander, a short drive to Porthcurno brings you to the Minack Theatre. This open-air amphitheatre, carved into the granite cliffside, is a marvel in itself, offering performances that take place in front of one of the most unique and fascinating cycloramas in the world.
Even the journey between these two pubs is its own reward. Winding coastal roads reveal vistas that shift with the weather, while small detours lead to hidden coves, ancient stone circles and artist’s studios.
For history buffs, a visit to the Geevor Tin Mine near Pendeen offers a glimpse into Cornwall’s industrial past, complete with underground tours and interactive exhibits. Meanwhile, nature lovers will appreciate the nearby Botallack Mines, where craggy ruins cling to the cliffs, echoing the county’s rich mining heritage.
The backbone of these pubs is, of course, St Austell Brewery. With over 170 years of brewing heritage, it has become synonymous with quality ales and a commitment to community. Its portfolio – ranging from the crisp korev lager to the robust Proper Job – has long been a staple of South West pubs. But it’s the launch of Proper Job 0.5% that signals an exciting evolution, offering a non-alcoholic option without compromising on taste.
St Austell’s 44-managed houses, including the Old Success Inn and Ship Inn, encapsulate its ethos of pairing great beer with welcoming spaces. Each pub is a celebration of its locale, reflecting the spirit of its surroundings while maintaining the brewery’s hallmark standards.
Cornwall’s allure is undeniable, but its true magic often lies in the quieter seasons. There’s a particular joy in wrapping hands around a pint in front of a crackling real fire, gazing out at a restless sea, or simply walking until the path becomes sky. In the Old Success Inn and the Ship Inn, St Austell Brewery offers more than just places to eat and drink; they’re places where moments of connection – with nature, history and others – are crafted and cherished.
Save 20% on a two-night stay with code DRIFT20. Book by 1st April 2025 for stays until 23rd December 2025. Code valid for two-night stays, Sunday-Thursday at the Ship Inn and Old Success only.
shipinnmousehole.co.uk oldsuccess.co.uk
ABOVE
Wake up to a view of one of Cornwall’s most captivating small harbours
Letting the SPEAK evidence
WORDS BY JAMIE CROCKER
Rohrs & Rowe is a name synonymous with excellence in Cornwall’s premium property market, a reputation cultivated through commitment.
Rohrs & Rowe has become synonymous with excellence in Cornwall’s premium property market. With over 50 years of combined industry experience, a legacy of success, and a proven track record of thousands of sales, founders Martyn Rohrs and Matthew Rowe have redefined estate agency services in Cornwall during their nine years in business. Their commitment to innovation and outstanding results has earned them the prestigious title of Best Estate Agency in Cornwall on six occasions, most recently for the 2024/25 period – a testament to their achievements.
For Martyn and Matthew, these accolades reflect their dedication to transforming the industry through innovation and a tailored approach. Matthew explains:
“After years of working together, Martyn and I set out to build a business that would challenge and elevate the industry.
In 2016, most estate agencies – regardless of size – relied on uniform methods, with
outdated marketing and limited use of technology. We saw an opportunity to make professional drone photography a standard feature, something rarely used at the time. Alongside this, we introduced high-quality videography to showcase properties and their surroundings, while significantly improving the standards of interior photography.
“We also recognised the growing influence of social media to reach broader, more targeted audiences. By combining compelling visuals with engaging descriptions that highlight a property’s unique qualities and the aspirational lifestyle associated with Cornish homes, we set out to create a new benchmark – all while remaining dedicated to exceptional customer service. We’ve also built a talented team of professionals who share our passion and dedication. It’s incredibly rewarding to see how our vision has developed and positively shaped the industry over the past decade.”
Looking ahead, Martyn emphasises their goal of staying at the forefront of Cornwall’s property market. “For 2025, we’ve introduced advanced technology alongside innovative marketing strategies, uniquely tailored to Cornwall’s property landscape and exclusively available through Rohrs & Rowe. These enhancements will further strengthen our ability to connect with both national and international buyers, ensuring optimal outcomes for our clients. We don’t just market houses – we sell them. Anyone considering selling their property is warmly invited to contact us for a confidential discussion about how we can assist, whether the property is new to the market or has faced challenges with a previous approach.”
Their tailored approach has led to many notable successes. Sancreed House, once home to Cornish artist John Miller, required a customised campaign to attract the perfect buyer – an international couple
seeking to create an upmarket B&B. Despite the complexities of a required change of use, Rohrs & Rowe ensured a smooth sale. The client shared: “Fantastic guidance and service throughout. Calm, polite, reassuringly experienced, with solid communication and brilliant marketing that found the right buyers in a timely way.”
Compass Point in Mevagissey, a contemporary cliff-top residence, presented a different challenge in a cooling market. Rohrs & Rowe’s targeted campaign secured multiple interested parties, ultimately finding the right buyer, who was captivated by its breathtaking setting. The owners said: “From start to finish, we received sound, honest advice. Rohrs & Rowe stood out with their exceptional photography, extensive knowledge, and unwavering support. They outshine every other estate agent we’ve worked with, and we wouldn’t hesitate to recommend them.”
TOP Left: Martyn Rohrs Right: Matthew Rowe
Treath, located at Praa Sands, saw another successful sale after failing to sell with another agent. Following a recommendation, the owners turned to Rohrs & Rowe for a refreshed strategy that quickly reignited interest. The owners remarked: “The professionalism was immediately apparent. The photography, marketing, and general attention to detail set them apart. We were fortunate they found buyers within two weeks, in a challenging market. We’re incredibly grateful for Rohrs & Rowe’s expertise.”
Ansells, a spectacular architect-designed modern residence on the Roseland Peninsula, boasts breathtaking sea views. Buyers were targeted through a national campaign supported by striking visuals. The clients commented: “From our first meeting, their professionalism and market insight were evident. The house was beautifully marketed with stunning photos
and engaging full-page advertisements across various magazines and platforms. Rohrs & Rowe went the extra mile to present our home at its best advantage.”
Combining premium marketing with personalised strategies, Rohrs & Rowe ensure your property achieves maximum visibility and exceptional results. With a strong emphasis on client relationships and the latest technology, their approach leads the way in Cornwall’s property market. Whether you’re ready to sell or seeking expert advice to navigate previous challenges, now is the time to make your property stand out and tell its unique story.
Contact Rohrs & Rowe today for a confidential conversation and discover how their innovative, tailored solutions can help you succeed in today’s competitive property market.
rohrsandrowe.co.uk
BYRE
A blend of historic character and modern convenience.
Situated in a tranquil North Cornwall hamlet just under two miles from Wadebridge, this modern barn conversion offers an idyllic blend of rural appeal and contemporary living. The substantial main property spans over 2,450 square feet, flaunting its heritage with its vaulted ceilings, exposed ‘A’ frame beams and original stone walls. The interiors are spacious, featuring three generous en-suite double bedrooms, two reception rooms adorned with wood-burning stoves and a capacious farmhouse-style kitchen where a large fireplace takes pride of place.
Set within approximately 1.1 acres, the estate also includes a detached three-bedroom annexe, just right for refurbishment. Paddock Barn offers further potential with its own private access, carport and 880 square feet of additional accommodation. Both properties benefit from LP gas central heating and mains utilities. Perfectly poised for countryside living, this property is perfectly pitched to combine on-site living with a potential foray into the letting market.
THE BARN Guide price: £995,000
JACKIE STANLEY 01841 532555
sales@jackie-stanley.co.uk
jackie-stanley.co.uk
RESIDENCE Rural
A four-bedroom home set in the Cornish countryside that’s just a short drive from Padstow.
Tucked just inland from Cornwall’s rugged north coast, this modern four-bedroom home blends bold design with composed functionality. A vision of contemporary architecture, its striking form is matched by thoughtful interiors that invite light and life at every turn. The heart of the home is an expansive open-plan living space that seamlessly integrates the kitchen, dining area and sitting room, which spills out into the garden through two sets of expansive glass doors. A sleek kitchen island, stone worktops and energy efficient appliances elevate the experience, while a wood-burning stove anchors the sitting area.
Upstairs, four generous bedrooms await. The master bedroom is a sanctuary, complete with en suite shower room and a private balcony overlooking rolling countryside. Outside, spacious gardens combine with paved area, creating space for al fresco moments, with parking for several cars enhancing practicality. This home, defined by clean lines and a connection to nature, is a celebration of modern Cornish living.
GUNVER HOUSE
Guide price: £799,995
JACKSON-STOPS 01872 261160
cornwall@jackson-stops.co.uk
jackson-stops.co.uk
We are Homemakers
The ebb DIFFERENT TIDE of a
WORDS BY HANNAH TAPPING
Finding solace by the sea at SeaSpace, with an off-season adventure that reveals an alluring authenticity.
The Newquay of my teenage years was one of endless surf days, followed by barefoot wanderings through the town, visiting what were then some of the only surf shops in Cornwall. With scrubbed floorboards underfoot and the heady smell of neoprene mixed with coconut-scented boardwax filling our nostrils, we would chat about the swell and the latest boards –Newquay’s surfshops and cool independent cafés were home to mini communities back then, filled with itinerant wavehunters looking for the next big swell.
and what had once been the beating heart of Cornwall’s holiday scene was reduced to a place without a soul, famous more for its rowdy crowds than its surf chic.
The town had a unique identity that I loved. Fast forward a decade and it started to lose its appeal. National chains spoiled the fun
Thankfully, another decade on, Newquay has regained its lustre. A really cool vibe has permeated the town and beyond. Outward investment has elevated the accommodation offering, and a new breed of successful entrepreneurs are at the helm of the towns’ eclectic mix of shops, restaurants, bars, cafés and attractions. Hugely talented artisan craftspeople are making their way here and there’s even a new part of town thanks to the Duchy of Cornwall. Nansledan is a Cornish mixed-use community of up to 4,000 homes with its own shops, schools and
public spaces, designed to meet Newquay’s future needs in a complementary and sustainable manner.
Fitting then, that for a weekend of out-ofseason rediscovery of Newquay we choose SeaSpace; a brand-new self-catering coastal aparthotel and community-led space on the clifftop above Porth, just on the town’s fringe. The brainchild of CEO Ben Harper, it was his dream to create a communityfocused space which would cater for locals and visitors alike. The idea of the aparthotel was to offer all the flex and freedom of selfcatering with hotel-style perks. It’s a place to stay, a place to work, a place to eat and drink, a place to socialise, a place to exercise – but actually, it’s so much more than even the sum of all those parts.
of the building, commissioned from abstract artist and local teacher Phil Strugnell, welcomes us. Imbibed with the colours of Cornwall it heralds an interiors theme that runs throughout the hotel.
Let me set the scene. We leave home after work on Friday and drive just 40 minutes across the county from south to north, which makes this an ideal escape if you live in Cornwall and just want a few days away. Fear not, for those of you who are out-of-county dwellers the opening of the new A30 has made access into the Duchy much quicker and, with daily flights in and out of London, Cornwall Airport Newquay is conveniently located pretty much on the doorstep… but I digress. On arrival, a huge mural on the side
As we walk up the winding path to the reception, my teenage daughter comments that it’s like arriving on a ‘proper’ holiday. By proper, she means abroad and I have to agree that there’s something of a Mediterranean feel about it. Maybe it’s nodding pampas that dance to the sound of the breakers beyond, maybe it’s the building’s curved façade. Perhaps it’s the welcoming reception space, scented by gentle land&water products, or it’s the happy chatter of guests enjoying a drink at the bar. It’s certainly not the weather as we have arrived on a night of thick Cornish mizzle, but that is no matter as we’re not here to sunbathe, we’re here to explore.
Check in is simplicity itself, and there are smiles all round. After a WhatsApp message pings in from Sam, SeaSpace’s virtual assistant, offering her help with any queries for the duration of our stay, we are set to find our accommodation. SeaSpace has a variety of rooms from studios to two- and threebedroom apartments, all with kitted-out kitchens and a space to chill. Ours is a twobedroom apartment and the moment we enter
those Cornish colours from the mural are echoed in the design. It’s cosy yet uncluttered. The designers have effortlessly achieved cool-kid chic here by combining natural and industrial materials, mixing rich colours with abstract patterns and adding a hint of mid-century modern. Our dining table has an American diner vibe about it and doubles up as a comfortable place to work should the need arise – although the sea view from expansive windows might prove to be a bit of a distraction. A separate galley kitchen is well-equipped and ideal for those staying on a budget or wanting the versatility of selfcatering. Crisp linen and fluffy towels receive a nod of appreciation from teenage daughter as do the land&water products in the bathroom.
community spirit here is high on the agenda. TALLOW currently opens Thursdays to Sundays, but will be open seven days a week from March 2025.
We spend the evening in TALLOW, SeaSpace’s Italian-American-inspired neighbourhood eatery enjoying local beers from Harbour Brewing Co and feasting on a delicious selection of Italian New York-inspired small plates. Crispy Cornish sardines with sage and tarragon are a musttry as are the Taleggio arancini with black garlic aioli. For a mizzly evening in January, TALLOW is buzzing with guests and walkins, families and couples. As a recently opened venture, it’s clear that fostering a
Sleeping soundly in extremely comfortable beds, we amble down for breakfast. Again, we are welcomed by the happy chatter of those already enjoying buttery pastries or pancakes piled high, accompanied by steaming coffees. Word has obviously quickly spread that this is the place to be for breakfast or brunch. TALLOW and SeaSpace Café are part of a large communal space that has been cleverly laid out with a mix of traditional tables, sit-up bar areas, sink-into chairs and American-style booths; there’s a place for all.
The day has dawned much brighter than yesterday. Gone is the mizzle to be replaced by a pale grey sky with the occasional hint of sunlight and a green-blue ocean that is delivering the most epic of winter swells. My phone pings, it’s not Sam this time, rather an indignant message from my number one son who is bemoaning the fact he is away at college and not pulling on his wetsuit and carving said waves. They are so perfect, it is literally as if someone has drawn lines across the sea as they march towards the shore.
You just have to cross the road from SeaSpace and you’re on the South West Coast Path. Turn right and you’ll pass Whipsiderry Beach before reaching Watergate Bay, where Wavehunters offers surf rental and lessons in season and out. We’ve decided to stay dry today, so turn left and follow the path around the headland down towards Porth. The waves are powerful and we stand and watch for a while as they surge up against the cliffs, sending plumes of water into the January air. We’re rewarded with a large seal who seems to be enjoying the waves as much as the neoprene-clad surfers.
We walk out to Porth Island as we can hear the blow hole working. The cliff reminds me of a sleeping dragon, gently snoring, until the next set comes through and it awakens with a large boom and an impressive plume of water and spray is launched into the air. We’re one of just a few families who have donned hats and scarves and ventured out to enjoy the sea air. There’s no rush nor tear, it’s all very civilised as we nod our hellos and make our way into Porth. I make a beeline for Roo’s Beach. It’s a must-visit clothes boutique, come coffee shop, come plant emporium. Everything is expertly curated by Roo and her team and it’s rare that a visit doesn’t result in a purchase such are the delights within.
The Boathouse with its array of street food and it even boasts a wood-fired pop-up sauna courtesy of Olla Hiki. There’s nothing nicer than a winter sea dip followed by the warmth emanating from the sauna coals.
As teenage daughter is not relishing the return clifftop walk, we hire Beryl Bikes for our return journey. I honestly feel like I have returned to those teenage years of my youth as we fly down Porth Hill, the wind and sea air in our hair. We might only be less than an hour from home but the escape feels like a world away.
There’s no getting away from the walk back up the hill, but it does serve to warm us up as when the sun dips so does the temperature. Back at SeaSpace we warm up with a dip in the Miamiinspired pool and a soak in the hot tub. All those who stay have complimentary use of the pool and can even request a day-pass to use after you check out. True to its inclusive offering, community memberships are available for the pool, gym and fitness classes which includes 10% discount in the café and there are five padel tennis courts opening in Spring 2025.
From Porth, we walk into Newquay itself following the coast path, where we find it has regained it’s year-round buzz. We love
It feels like Newquay has come of age and businesses like SeaSpace are playing an integral part in that, fostering a neighborhood spirit that will draw digital nomads, staycationers and visitors alike, year round.
sea.space
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Forged within COMMUNITY
WORDS BY JAMIE CROCKER
By heat, hammer and hand, a new beauty emerges, moulded to the anvil’s chime.
In the rural tranquillity of Yalberton’s verdant valley, where Devon’s pastoral rhythms flow from season to season, Angus Wood’s forge crackles with the alchemy of fire and steel. It is a place where the past converses with the present and where the ancient craft of blacksmithing finds renewed vitality in the hands of a young artisan whose work embodies both tradition and innovation.
For many, the term ‘blacksmith’ conjures a romantic tableau from a Ladybird book: a weathered and stooped figure shoeing a horse, sparks leaping in a dimly lit forge. But Angus is a modern blacksmith, his craft rooted in heritage yet elevated by contemporary methods and market preferences. His forge, which butts up to an old cider factory, is not just a
functional space but a paean to the past – a place where he shapes not only metal but also his connection to a lineage of makers stretching back centuries.
“There’s something incredibly fulfilling about making things,” Angus says, his voice carrying the warmth of someone who truly loves what they do. “The possibilities are endless.” This love for creation is evident in his portfolio, which spans functional kitchenware, architectural accents and bespoke fireside accoutrement. Yet, what truly sets his work apart is his commitment to individuality in a world that, over the decades, has become increasingly dominated by mass production. He stands alone as an individual creator.
ABOVE Fit for a king
Yalberton is more than a picturesque backdrop; it’s a vibrant hub of creativity. The area’s proximity to Totnes, known for its concentration of independent shops and craftspeople, has fostered a community where traditional skills thrive. “There’s a real community of makers here,” Angus explains. He sells some of his work in a shop in Ashburton, where the owner maintains close ties with all the crafters who supply the store. This network of artisans forms a kind of ecosystem, each drawing inspiration and support from the other.
It’s a community that attracts a discerning clientele – those who appreciate the uniqueness and effort behind handmade items. “Traditional craft is niche,” Angus acknowledges. “It’s not for everyone, and by definition, it’s more expensive. But there’s a growing appetite for pieces that are made with care and have a story behind them.”
This sense of place and community influences Angus’s approach to his craft. Yalberton’s rich artisan culture has created a “honeypot” effect, drawing both makers and buyers who share an appreciation for quality and craftsmanship. It’s an environment where tradition meets a modern sensibility, where someone with Angus’s sangfroid disposition can thrive.
At the heart of Angus’s work is a blend of age-old techniques and modern materials. Blacksmithing, he explains, revolves around seven fundamental skills: drawing out, upsetting, punching, slitting, bending, twisting and forge welding. These techniques, mastered over the years, allow him to manipulate metal into almost any form. Yet, Angus’s approach is far from archaic.
“I don’t often use forged iron,” he admits. “Eighty to ninety per cent of my work is made from mild steel. It’s more affordable and readily available.” While purists might baulk at the departure from traditional iron, Angus is pragmatic. Mild steel, with its small carbon content, offers versatility and cost-effectiveness, making it ideal for functional pieces like coffee scoops and ladles. He also forges stainless steel, which, though non-traditional, is perfect for kitchenware thanks to its resistance to rust.
Copper, with its warm, lustrous tones, is another favourite material. “The contrasting materials look fantastic together,” he says. Yet even as he pushes the boundaries of his craft, Angus remains deeply respectful of its roots. “I have a massive pile of iron I use for specific projects,” he notes, emphasising its unique qualities despite its expense.
The crucible of creation
For Angus, the tactile nature of blacksmithing is part of its enduring appeal. The act of heating, hammering and shaping metal is not just a means to an end but an immersive experience. “It’s hot, it’s intense,” he says. “And the possibility of what you can make is absolutely endless.”
Angus’s journey into blacksmithing feels almost predestined. Raised in a family of craftspeople – his father a green oak framer and his brother a carpenter –he grew up surrounded by the ethos of making. “I guess I’m the black sheep of the family,” he jokes. “But it always seemed natural to me to become a maker.”
His home and forge share the same plot of land as his family’s farmhouse, with his grandmother living just down the hill in a converted barn. It’s a setup that mitigates the isolation often associated with solitary work. “I don’t find it isolating,” he says. “With my family around, there’s always a sense of connection.”
awareness that was unconsciously gifted to him. It was back in Bristol that his father had a strong friendship with a blacksmith, and though that friend’s life was tragically cut short, his influence lingered, sowing the seeds of Angus’s future craft. This connection to the past is something Angus cherishes, imbuing his work with a sense of history and continuity.
For all his passion for making, Angus admits that the business side of blacksmithing can be challenging. “If I could, I’d have forge fairies to sell my work and just bring back the money,” he quips. Yet, there’s an undeniable satisfaction in knowing his creations find appreciative homes. “Before Christmas, I sold a lot of pieces, and it’s nice to think of people opening gifts that I’ve made on Christmas morning.”
But Angus’s love for crafting and blacksmithing, in particular, isn’t merely a familial inheritance. It manifested itself in childhood via the seeping incursion of an
Angus sells his work through multiple channels: his website, which accounts for a significant portion of his sales, local shops and craft fairs. These fairs, while physically demanding, offer a sense of camaraderie with fellow exhibitors. “It’s an itinerant community,” he says, noting the shared experiences of long days and
the thrill of connecting directly with customers. This year, his schedule includes prestigious events like the Great Northern Contemporary Craft Fair in Manchester and a show in Cheltenham.
Craft fairs are not merely commercial ventures for Angus; they are opportunities to engage with a wider audience and showcase the narrative behind each piece. His wife, who is a talented ceramicist in her own right, plays an integral role in managing stands and interacting with customers, “She’s much better at that sort of thing than me,” he quips.
As with many traditional crafts, sustainability is a complex issue in blacksmithing. Angus intercepts offcuts of steel – sections too short for industrial use – and repurposes them in his work. “It’s not as sustainable as I’d like it to be,” he admits. “But I do what I can.”
about materials but also about creating objects that endure, rejecting the disposable ethos of modern consumerism.
Ultimately, what drives Angus is the sheer joy of making. “When I emerge from the forge with a load of products, it’s so satisfying,” he says. It’s a fulfilment that transcends the physical demands of the work or the dust and heat of the forge. For Angus, blacksmithing is not just a livelihood but a calling, a way to connect with both the material world and a deeper sense of purpose.
One potential game-changer is the induction forge, an electric alternative to his current setup of propane, coal and anthracite. “It’s a big investment,” he says, “but it would make a huge difference.” Such a shift would align with his broader goal of reducing the environmental impact of his craft. For Angus, sustainability is not just
As the forge glows in the heart of Yalberton, Angus Wood’s work speaks to a timeless human desire: to shape the world with one’s own hands, leaving behind objects that carry not only function but also meaning. In a fast-paced, disposable age, his craft offers a reminder of the beauty in patience, skill and individuality –qualities that are as enduring as the metal he so lovingly transforms. In his hands, blacksmithing is more than a profession; it’s an art form.
Cheltenham Craft Fair takes place in the town hall and runs from the 21st to the 23rd March.
anguswoodblacksmith.co.uk
Meaningful MOMENTS
WORDS BY HANNAH TAPPING | IMAGES BY NICK BAILEY
FOCUS
Through the lens of Nick Bailey, whose cinematic, story-driven images bring out the emotion and beauty of every experience.
Nick Bailey, born in Guildford, had a childhood shaped by constant movement: “Thanks to my dad’s job, we soon relocated to Hamburg and then to various cities across Europe. By the time I was ten, I had attended so many different schools that my parents decided it was best for my brother and me to have a more stable education. That’s when we were sent to a boarding school in Cornwall – a huge culture shock for any ten-year-old.”
“Academically, I always struggled. It wasn’t until my third year of studying Photography at Anglia University that they decided to test for dyslexia. The diagnosis was a revelation – giving me a deeper understanding of myself and my abilities, ultimately boosting my confidence. After graduating, I couldn’t wait to return to the South West; Cornwall had always been where my heart was. Its rugged landscape and unique light became an underlying source of inspiration, and, in many ways, Cornwall is the reason I picked up a camera in the first place.”
chance to learn, grow, and develop my skills. The fact that I was able to pay my bills while doing what I loved felt like a dream come true. However, I believe we make our own luck and so without the unwavering support of my wife and family, none of this would have been possible.”
Nick never imagined that wedding photography would become such a central part of his career: “The genre used to carry a certain stigma, but over the years, the field has evolved dramatically. Today, it’s about capturing natural, fleeting moments and I’m proud to be part of a movement that has transformed wedding photography into an art form.”
“Starting out as a freelance photographer was daunting. For the first time, I felt a sense of self-worth, which had eluded me during my school years. In those early days, I never turned down a job. Every assignment was a
Like many, Nick’s business was significantly impacted by the COVID-19 pandemic. With weddings on hold, he turned to his experience in commercial photography to stay afloat: “For the past four years, I’ve had the privilege of working closely with one of the region’s top agents, Jonathan Cunliffe, and the esteemed Terry Harris & Sons based in Rock, capturing stunning properties in the area. While this pivot has been incredibly rewarding, my heart still leans towards capturing one of the most meaningful moments of people’s lives.”
studiobailey.co.uk photobailey.com
ABOVE
Beth and John at St Agnes Beacon
TOP LEFT
Megan and Ed at Whitsand Bay
TOP RIGHT Megan and Jake at Roscarrock Manor Farm Wedding
ABOVE Beth and John
Hooked on the Rocks
ABOVE
Helford Passage
TOP
Superyacht ‘A’, shot off the coast of Ibiza for Jotun
ABOVE
Small sailing boat at Coverack
TOP LEFT & ABOVE North coast at dusk
TOP RIGHT Trewoon Manor
ABOVE
Stratton Terrace, Falmouth
Pendennis Cup
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Into the UNKNOWN
WORDS BY JAMIE CROCKER
PREVIOUS
Wabi Series 3 on canvas
TOP Wabi Series 2 on watercolour paper
ABOVE
Wabi Series 1 on watercolour paper
Let us go on a journey energised by colour and abstraction, one that is pure imagination, curtailed by no conclusion.
It has always fascinated me how people choose or are drawn to follow a certain path. The interesting narratives that emerge are invariably not motivated by financial gain but by a compulsion that has its roots in a childhood experience, which grows, becomes embellished, and is amplified as the years pass. Everything is a reaction to what precedes it. If this were not the case, then nothing would make sense. As William Wordsworth wrote in his poem My Heart Leaps Up, ‘The child is father of the man.’
And so, it is with Carol Hosking-Smith. “I remember the first time I was allowed to stay out late as a child, seeing a sunset and looking out on horses in the vivid green fields and the wonderful colours of red and orange in the sky. (It) created the thought of being affected by colour, which has been
a very much part of my life ever since.” She adds, “I was always making things, clothes especially. I remember, too, having a set of paint-by-numbers, oil paints and a board as a present. The oils were so sticky and the shapes so difficult to fill in that I thought I never wanted to be an artist! Fortunately, I was not put off for long!”
These seminal moments are couched in a child’s innocence yet hint at a life to come. The love of colour and the rejection of the boundaries imposed by others are all there. As Winifred Nicholson in the book written about her by Jovan Nicholson, entitled Liberation in Colour, says, ‘The Old Masters nailed colour, like a carpet tight down over forms, the abstract thought released it, and its inherent power for expression became apparent.’ Carol is an inheritor of this thought.
Carol Hosking-Smith
Her conscious entrance into the world of abstraction and its derivatives earnestly began when she took a foundation course at the Reigate School of Art. Here, she experimented with abstract shapes within her textile designs, often developed from drawings and paintings. She explored chromatics and texture learning the techniques of photography and artistic composition, the latter of which would be invaluable. From there, she progressed to Croydon School of Art and Design, Central School of Art and Design Postgraduate, plus Chelsea School of Art; the Postgraduate course allowing for further independent experimentation. These formative years proved to be solid ground from which to spring forth, giving Carol the confidence and freedom to challenge realistic forms. As Picasso said, “Learn the rules like a pro, so you can break them like an artist.”
At some point, she became one of those people who recognised that London wasn’t working for them anymore. Its frenetic demands and sheer vastness were contriving to make it harder to feel a sense of community. And, although Carol had had successful exhibitions there, she felt she needed to be somewhere else. Fortuitously and somewhat ironically, it was in the capital that she first (literally) encountered Wilhelmina Barns-Graham –a founder member of the Penwith Society of Artists. It proved to be a tipping point for Carol, spurring her to uproot and move to Cornwall’s artistic epicentre. As an admirer of Barns-Graham’s later work, it seemed a
natural decision to make. There is a synergy to be seen between the two artists in terms of production and approach. A quote from Barns-Graham could apply equally to both – “In my paintings, I want to express the joy and importance of colour, texture, energy and vibrancy, with an awareness of space and construction. A celebration of life –taking risks so creating the unexpected.”
It was a move that suited Carol from the outset. She found a deeply rooted community as opposed to the transient and ephemeral ones she’d encountered in London. The stimulation and slower pace allowed her to access the inner peace that she had been lacking. Although it has become a cliché, the sea and the light surrounding St. Ives have proved to be an ever-present companion to her and the art she creates. It is a place she has come to love.
Finding stillness and space to meditate in her new home was akin to a second awakening for Carol. She found that her energy levels increased because the demands of the metropolis had been relinquished. Instead of witnessing and being crushed by the incessant throb of the city, she found that the natural sounds and sights such as sea, sky and dramatic weather changes were having a beneficial effect upon her and, by extension, what she was producing.
From a space of inner tranquillity, ideas germinated, becoming real on the canvas, spreading and evolving as she worked. As a consummate writer often finds, when
TOP Sea Echoes on canvas
ABOVE Wabi Series 1 on watercolour paper
TOP Joy on watercolour paper ABOVE Wind Series on watercolour paper
the characters that they have created start to come to life on the page when they begin to interact with each other, they break away from the control of the creator, and so too did Carol’s creations, taking on a lifeforce of their own. Sparks were flying, setting light to a period of intense creativity! The fire that began then has never gone out.
As a person who responds to their environment quite acutely, it would be odd to find that other influences don’t permeate the mind of someone of Carol’s disposition. Although not directly inspirational to her art, she freely admits to a subconscious lineage between it and music and dance. They both sit in the background as helpful adjuncts to the creative process. Chopin and Debussy are composers who aid in ‘mood creation’ before she even picks up a brush. There is also a shared descriptive language between the three disciplines, a commonality of words, including rhythm, abstractness, arc, flow and energy –adjectives that can easily be applied without hesitation to her mark-making. What is also interesting, and running counter to a lot of her fellow artists who are working through their angst in the public sphere, is a desire to bring harmony and joy to her viewers. As she says, “I want people to be uplifted by my art. You go to an exhibition to be inspired and transported!”
Reflected in her art is the concept that ‘less is more’. Her recent Wabi series of paintings is the culmination, or rather a resting point before the journey continues, of an evolving
process. As Carol says, “The Wabi series has allowed me to explore more open space in my compositions and how colour and form relate to a given space. I feel this will be more of a consideration for my future work. It’s something that I’ve really enjoyed doing. I love the Zen brushwork in particular; it’s such a calming experience.” It is a practice that transcends mere aesthetics, requiring the practitioner to adopt a state known as mu-shin or “no-mind,” which exists beyond thought, emotions and preconceived expectations. It runs contrary to work produced with conscious intention, art that can sometimes lack vitality and life because it is too representational and overly contrived. Through her engagement with Zen Buddhism, Carol has been able to show through her mark-making the simplicity and direct expression that it encourages, allowing her creativity to emerge from a place of organic spontaneity.
As a consequence, her creations begin and end with energy. Every brushstroke carries intent, and every mark embodies the energy it projects. This dynamic exchange starts with deliberate motion – fast, intuitive and purposeful. The initial act is immediate and impulsive before the painting then starts to dictate its journey. Will it remain still and meditative, or will it grow into something dynamic and spirited? The outcome is often determined by the energy of that first stroke, a force that shapes the unfolding narrative. Carol’s role is to embrace this journey, to follow where the painting leads her. Art, after all, is as much about letting
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
go as it is about control – a delicate dance of energy and instinct. Resistance – forcing a different direction – risks disrupting the harmony and balance, leaving the work disconnected and unresolved. This approach even applies to the materials –the acrylic paints and inks that she uses are perfectly suited for this type of quick and expressive work – “They flow so well.”
In conclusion, speaking honestly, Carol acknowledges that abstraction, as an art form, presents inherent challenges for the observer, particularly for those who are less acquainted with the concepts of American Expressionism and Zen brushwork. It is other artists who first respond to her work
with appreciation, but as any innovator will testify when you are pushing the boundaries, it will take a while for others to understand what you’re doing. Within the long history of Abstraction, from the first pioneers – the Women Spiritual Abstract Artists in the late 19th century to the Modernists of the mid 20th century, which were largely based in St Ives – Carol finds plenty to explore and give personal expression to this idiom.
Her work can be viewed in several prestigious galleries, notably the New Craftsman and the Penwith Gallery.
carolhoskingsmith.com
Eventide
WORDS BY JO SCRIMGEOUR
As someone who works for HomeStart Kernow, I often reflect on the unique challenges families face in Cornwall. Our county is famous for its stunning beaches and breathtaking landscapes, but for new parents, this beautiful region can sometimes feel isolating. Loneliness and declining mental health are all too common, and that’s where we step in.
At Home-Start Kernow, we’re passionate about empowering parents, helping them build confidence, develop support networks and foster meaningful connections. Our approach is deeply personal – we tailor our support to meet the individual needs of each family. Specially trained volunteers visit families at home every week, offering practical and emotional assistance. We also run supportive family groups across Cornwall, creating warm, welcoming spaces where parents can meet others, engage in fun activities and connect with their children in positive, healthy ways.
the right support at the right time, we help families build brighter futures.
What’s truly amazing about what we do is that our services are completely free. Accessibility is at the heart of our mission, ensuring that no family is left behind, regardless of their circumstances. But none of this would be possible without the generosity of our community.
This is where you come in. Whether it’s a one-off donation or a regular contribution, your support makes an incredible difference. Just £5 can provide a healthy snack at one of our family groups. £10 can help an isolated parent attend a group, building those vital connections that improve mental health. And £15 can cover the expenses for one of our volunteers to visit a vulnerable family.
With over two decades of experience, we understand how challenging parenting can be. No one should have to face it alone. That’s why we’re here – to ensure that children across Cornwall thrive and have the best possible start in life. By providing
At Home-Start Kernow, we believe childhood cannot wait. Every child deserves the chance to grow up in a safe, supportive environment, and with your help, we can make that a reality.
Together, we can ensure that every family in Cornwall has the opportunity to thrive.
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