Moments in time that are inspiring the next generation
EPICURE
Celebrating exceptional culinary innovation and excellence.
Awarded to individuals or teams who demonstrate outstanding creativity, craftsmanship or impact in the realm of food, drink or hospitality.
CREATE
Acknowledging exceptional creativity across any medium.
Awarded to visionary thinkers, artists or makers who push boundaries and set new standards in creative expression.
AWARD CATEGORIES
RETREAT
Honouring spaces and experiences that offer rejuvenation, reflection and renewal.
Given to those who create environments physical or experiential that foster rest, mindfulness and well being.
SUSTAIN
Celebrating impactful contributions to sustainability and environmental stewardship.
iven to individuals, pro ects or organisations leading the way in ethical, ecological and regenerative practices.
ABODE
Recognising excellence in the design, function and soul of living spaces. Presented to those who elevate the concept of home through architecture and design.
INSPIRATION
Individuals and businesses that continue to push the envelope in their chosen field.
Awarded to those that uplift, motivate, and empower through actions, stories or presence, leaving a lasting impact.
The shortlists will be announced on 6th July 2026. Voting will then commence, closing on the 30th September 2026. Make sure you’re subscribed to our newsletter to receive regular updates – driftjournal.co.uk/e-newsletter
A JOURNAL FOR THE DISCERNING
rift drift noun
1. the act of driving something along
2. the flo or the velocit of the current of a river or ocean strea
verb
. to beco e driven or carried along, as b a current of ater, ind, or air
2. to ove or float s oothl and effortlessl
We invite you to continue your lifestyle voyage online. Find inspiring stories and uncover more luxury content on Instagram @dri journaluk. oin our e clusive e-journal co unity at dri journal.co.uk to receive reci es, reviews and insider knowled e of some of the South West’s most-loved luxury destinations.
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On the cover
ortrait of ordon amsay detail) by emy hiting, as featured from page 5. remywhiting.com
Head of Client Management es lover 5 5 5 5 des.glover@levenmediagroup.co.uk
Charlotte Forster charlotte.forster@levenmediagroup.co.uk
Leven Media Group Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of this magazine.
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Foreword
We wear our lives on our faces. Captured well, a face tells you everything a biography might take pages to reveal. It is why portraiture, at its finest, is never simply about likeness. Moreover, it is about revealing the truth, the life behind the face. ordon amsay perhaps one of the most recognisable figures in the world is positioned here not in the heat of a kitchen, but through a considered eye behind a lens. hotographer emy hiting 5 places amsay not as a chef, or even a figurehead, but a man who, like the finest mentors, has discovered deep purpose in the ignition of others. The portrait offers a suggestion of something rarer than accolade or ambition. That idea, of the mentor as landscape, runs through this volume. ir Tim mit has spent decades doing precisely that, not only building one of the most extraordinary living landscapes this country has produced, but thinking deeply and generously about what we owe the natural world and the generations
who will inherit it. His vision has always been long. is conviction, longer still. Nathan utlaw 5 has cultivated a generation of talent with a radical localism that reveals itself as a refusal to chase trends. is recipes reflect that rootedness in their seasonality and connection to a landscape in a way that feels increasingly countercultural. Jack arries 2 brings a younger but no less urgent voice to these questions. His decision to relocate, and the thinking around sustainability that underpins it, asks something of all of us: where do we belong and what do we owe the places we choose to call home Each of them, in their own way, is a gardener; of talent, of land, of ideas and of the next generation. They are people who have achieved mastery in their field and chosen, at the height of their powers, to direct it outward. Luxury, we have always believed, is about cultivation rather than acquisition. That is the conviction that shapes this volume, we hope it stays with you.
Our contributors
We have an exceptional and loyal team here at Leven Media Group but as a fast-growth business we’re always interested in talking to outstanding individuals. If you’re a superstar of extraordinary talent then we would love to hear from you.
Call us on 01326 574842 or email enquiries@levenmediagroup.co.uk Visit driftjournal.co.uk to read more about our writers.
Proudly
Providing life changing opportunities for young people across the UK www.diveprojectcornwall.co.uk
Hannah Tapping
Martin Holman
Mercedes Smith
Jamie Crocker
Petherick House
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15 STILL LIFE
At a glance
Capturing moments in time that are inspiring the next generation
rt on show in s ectacular oral ardens
38 EDEN, AN EXPLANATION
Twenty-five years on, the Eden Project asks what kind of future follows
50 BEYOND THE DRIVE
t Porsche entre E eter, a series of owner events is redefinin what it eans to elon
56 OAK FRAME CRAFT
Two ornish usinesses colla orated to shape Halwyn’s restaurant
65 ON FISH
ichelin-starred athan utlaw distils three decades of e erience as a fore ost fish chef in a rand new hand ook on cookin fish
72 LEARNING TRADITIONAL WISDOM
ro online fa e to land-led livin and shared knowled e
80 AS NIGHT FALLS
E loyin colour, te ture and at os here to create uni ue ni ht-ti e narratives
88 STEP INSIDE
n invitation to e erience ornwall en tudios
info@thirtystories.co.uk
Still LIFE
WORDS BY HANNAH TAPPING
Moments in time that are inspiring the next generation.
Photographer Remy Whiting began his career in photography covering adventure sports, with travel shoot editorials and advertising imagery for the likes of Wavelength surf magazine, Quiksilver, Animal and a range of travel magazines. A curiosity of all things foreign, bought a change in direction: “Following my love of portraiture and fashion photography has led me to meet some fascinating (and terrifying!) people and often puts e in privileged and uni ue situations around the world,” says Remy.
“My aim is always to bring back engaging photos from exciting stories, showing people something new… something they wouldn't be able to see for themselves. To do this, I immerse myself in my subjects’ world attempting to become as much a part of it as I possibly can. These could be as diverse as gang members shut away in their homes or local artists in their workshops. Sometimes I may be with them for just for a few minutes, other times, it’s days.”
In his commercial work, Remy brings a relaxed and professional: “I work with agencies, creatives, magazines and directly with the brands themselves, whether that
be from concept to retouch or purely on the photography, always ensuring we have the appropriate tea and e uip ent for an given job”
“I’m lucky enough to have travelled to some amazing places around the world for my work and to have met some wonderful people along the way. I’ve seen my work on billboards, in magazines and winning awards but there’s always something else out there...” In 2013, Remy began developing a charitable project – Snap Foundation – taking photography to the townships of South Africa and the depths of the Democratic Republic of Congo. “This was extremely well received by the children who have shown real promise as future photographers and story tellers,” says Remy. “This year a programme was taken to the rarely visited rural areas of northern Uganda which was a huge success. All of the programmes aim to give children a voice to tell their story and share it with the world, something I am extremely passionate about and is hugely rewarding for anyone involved.”
remywhiting.com snap.foundation
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Alejandra Costa, actor and model photographed in my old Shoreditch studio with hair/makeup and styling by Tina Young Routier
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TOP
Part of a series shot for Hito with Silver Agency around the streets of London
“ My favourite shoot of 2025 working with a new client, Formia, on their campaign at an airbase.”
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“A
swim test shoot which I bolted onto an editorial commission in Majorca which ended up being used on the cover and won me an award at the Siena International Photo Awards.”
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“I had just 6 minutes with Gordon Ramsay for 220 Triathlon magazine at a sports centre but was determined to get a portrait of hi on ediu for at fil ca era on top of given brief.
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Lino artist Shepherd Xego at his home and art studio in Ramaphosa Village, South Africa
TOP LEFT
Man with his radio
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Young boy on his bike at the coal market
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Seller at the coal market
TOP RIGHT
Wanderings in the Democratic Republic of Congo
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A teenager (part of the Lai Golden Spiders group involved in Izikhothane) poses at my temporary studio set up in Walmer Location, South Africa
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Musician Beans on Toast photographed behind a pub before his performance in Cornwall
discover the islands that feel like a world away DAYS WELL SPENT ON THE ISLES OF SCILLY
Soar over the Atlantic and touch down in a place where time slows and the senses reawaken. The Isles of Scilly, with soft white sands, aquamarine waters and unspoilt beauty, offer a rare kind of escape - close enough for a spring day trip, yet enticing enough for a longer island stay.
Fly from Land’s End with Skybus and arrive in just 20 minutes. With more time to spend on the islands, you can truly settle into their rhythm: wander quiet beaches, swim in glassy
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Travel by sea on board Scillonian III, gliding past the Cornish coast with a front row seat to dolphins dancing in the waves, seabirds soaring above, and the chance of spotting whales on the horizon.
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Whichever way you travel, the journey is part of the adventure...
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ABOVE
Model Mila Miletic photographed at Powderham Castle for Manor Magazine, styled by Mimi Stott with hair and make-up by Maddie Austin
Rural BEAUTY
WORDS BY MERCEDES SMITH
An inspirational collection of art on show in spectacular floral gardens.
One of the best things to happen to ne art in the ast few de ades is the rise of the r ra art ven e way from the typi a ity entri o ations of the artwor d, i names and inspired independents have opened a eries and s pt re ardens deep in the n ish o ntryside
est e arton was a nota e pioneer, openin a a ery and s pt re meadow on a se ded ornish farmstead in rt mar et iants a ser and irth, who have a eries in on on , ri h and os n e es, opened their r ton art spa e on a farmstead in omerset in , and ess ms, of ayfair, opened their th ent ry tythe arn a ery and s pt re arden in r ra i tshire in or a these ven es, remoteness was the ris to their via i ity, and yet one y one they have o rished heir s ess is ased on the new y pop ar draw of the destination art
e perien e and the nriva ed p eas re of en a in with art in o tdoor settin s
efore a these ven es appeared, one evon fami y saw the potentia for e hi itin art amid the orio s ardens and ar hite t ra rande r of their artmoor estate in e , e amore o se has hosted a month on ay event ea h year, whi h invites art overs to e p ore wor s on show in their forma ro nds and private drawin rooms ri ina y on eived as a show ase for wor from the o th est, e amore rts has rown e ponentia y and now e hi its art from a ross the and we omes tho sands of visitors ea h year
r rst e hi ition attra ted ess than , visitors over the month, and on some days no visitors at a , says i y o ard, who with h s and avin has owned and r n e amore as an a ri t ra estate
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e amore ardens feat rin
a e s y tephanie shin INSET
e amore o se feat rin ate ase y oe mith
ABOVE ossom at e amore ardens
sin e the ate ei hties heir de ision to a n h e amore rts was ased on their own ove of s pt re, and a desire to share their ea tif ro nds with the p i ea h sprin he ardens have a ways een an important part of the e hi ition, she te s me of e amore s tai ored awns, spe ta ar ora orders and st nnin o e tion of sian hododendrons nd of o rse we had on erns a o t the r ra ity of o r o ation, t it soon e ame ear that those fears were nfo nded e now attra t visitors from as far away as meri a, stra ia and apan
e amore rts has e ome a mainstay of the o th est art s ene, offerin o e tors the opport nity to view and a ire wor s they mi ht otherwise see on y in ondon or eyond his ay, more than one h ndred and y artists wi present their wor , from emer in ta ents to esta ished and we oved names e amore s forma ardens are the a drop for ar e s a e ritish s pt re, whi e the ain a ery, in the e e ant th ent ry interior of the ho se, hosts an e hi ition of paintin and s pt ra wor s
a h year, the o isti s of the event are overseen y state ana er avid oodford, whose omp e ro e e tends from se e tin artists in o a oration with his fe ow r stees, to insta in mon menta wor s of s pt re onsite he diversity and s ope of the wor s, and the wonderf options presented y the arden ma e it a ha en in t rewardin responsi i ity any wor s re ire omp i ated insta ation, he te s me a a e wor s m st e p a ed se re y and prote ted y
ameras, and there are imits to where very ar e wor s an o d e to a ess re irements for ranes or me hani a hand in e ipment he e a t detai s of what and where, he te s me, however te hni a , are a ways made with aestheti s in mind e wor with ea h artist to p a e their s pt re in a position that est disp ays the wor says avid e even onsider how the a ro nd p antin wi intera t with the pie e as o o rs han e over the month, when the shr s o in and o t of ower
rt and ands ape are nat ra ompanions, and e amore s o ation and sprin timin end an p i in atmosphere to the event r settin is s per here on the ed e of artmoor, says avin o ard, whose fami y have owned the estate sin e e are s rro nded y tran i ity, and o r fa o s i torian ardens, whi h prod e st nnin disp ays of o o r every day in ay isitors to the e hi ition are we omed thro ho t the month, and the o a omm nity ene ts not st from the in of art overs, t from the enero s donation e amore rts ma es ea h year to o a harities or artists, the event offers a ni e opport nity to e hi it to yers o tside of ondon, and to present their wor in a settin that e evates its meanin and its impa t e amore offers somethin inva a e to s pt re i ht and spa e, says artist y d ver ne, whose wor wi e on show in the ain a ery of the ho se any shows offer o tdoor s pt re, t few om ine that with a stron indoor a ery spa e t is that a an e of interior and e terior e hi itions that ma es e amore parti ar y spe ia
ptor an ar ow, whose wor s wi e e hi ited in the ro nds, te s me thin of e amore as the start of the e hi ition season, and it is a marve o s ven e for the disp ay of s pt re he ho se and arden, with its enormo s rhododendrons a rstin with o o r, are s pt ra statements in themse ves and provide a variety of wonderf a drops for wor s of art rom wide open spa es to sma er, en osed areas, there is a ways the perfe t settin n addition to the ain a ery and ardens, e amore s ta e o rtyard wi host two e hi itions y evon s rti an o e tive whi h show ases ta ent from the o th est and eyond ontemporary ritish rintma ers e e rates handmade print, from traditiona wood ts to et hin s, whi st he i n oom presents a diverse o e tion of erami vesse s and s pt ra wor s in ay here wi
a so e a pro ramme of a er a eover fairs and wor shops in the ta e a ery, where visitors an en a e with dis ip ines in din water o o r paintin , ewe ery ma in , erami s, printma in and wire s ptin
e t to ta e the he m of e amore rts is i y and avin s son omini , who has een invo ved with the event sin e hi dhood rew p a on side e amore rts, he says y parents started the e hi ition when was very yo n , and have een part of it in some apa ity sin e was fo r years o d hat e an as a re ative y sma e hi ition has deve oped into an event that rin s artists, visitors and the o a omm nity to ether ea h year, and e a se of that history, fee a stron responsi i ity to oo a er somethin that has ome to mean a reat dea to many peop e
Located in the rolling Cornish countryside above the beautiful seaside town of Bude in North Cornwall, Wooda is a family-run holiday park offering a variety of luxury self-catering accommodation and touring & camping pitches.
With beautiful sea views, five-star facilities and a range of on-site features including Yard Bar & Coffee, food pop ups, Cocktail Bar, Takeaway, nature trail, woodland walks, farm animals, tennis court, badminton court, gym, Pitch ‘n’ Putt, dog agility field and playground to name a few, Wooda has something for everyone to create holiday memories that will last a lifetime!
As Dominic steps in and the event approaches its 25th anniversary in 2027, the entire Delamore team are taking time to look back on its successes, and to look forward to even bigger and better things.
“My role will be about making sure the event continues to be run in the same open and welcoming spirit as it always has been” says Dominic. “A rural location like ours allows people to experience art in a very different way, as part of the environment, and in a world where so much of life now happens through screens, there is something powerful about spending time outdoors and discovering art in such a beautiful setting. Being part of an event that gives people that special experience is incredibly rewarding.” Nicky agrees, adding
“We never anticipated the enormous amount of happiness that Delamore Arts has given to so many visitors over the years. We see people arriving and departing with joy on their faces, and that has meant a lot to us all, and to the local community, which is why we plan to continue the event for at least another quarter of a century.”
Visit Delamore Arts from 1st to 31st May 2026 at the Delamore Estate, Cornwood, Ivybridge, Devon PL21 9QT. Open 10.30am to 4.30pm daily including Bank Holidays. Entry £17 on the gate or £14 in advance at delamore-art.co.uk. Event season ticket £25. Under 16s visit for free.
delamore-art.co.uk
Eden, EXPLANATION an
WORDS BY JAMIE CROCKER
TTwenty-five years on, the Eden Project asks what kind of future follows.
here is a temptation, when confronted with the scale of the Eden Project, to treat it as a spectacle, something akin to a grand Victorian construction that has been laid before a wide-eyed public for inspection. The biomes are photographed, the pit is admired, whilst visitor numbers are tallied and offered for inspection as a form of justification. Yet its 25th anniversary arrives not as a retrospective flagwaving celebration but as a moment of tension sharpened by experience. What began as an improbable intervention in a worked-out clay pit has matured into something more awkward to summarise: part experiment, part provocation. It is also, as its co-founder insists, unfinished business.
century just passed, before turning quickly to the present. “If we’re as good as we think we are, then why is the world in this damned mess?” The question resonates, suggesting a want of trying and the need to take the path less trodden if we are to save our planet and ourselves. Eden’s founding predated the current vocabulary of environmental anxiety; “sustainability wasn’t a word that was on everybody’s lips,” he recalls, and climate change sat largely within specialist circles. In that sense, Eden did not emerge from consensus but from a hunch about where public attention might eventually gravitate, prodded by a slow dawning necessity.
Sir Tim Smit is wary of the tone that anniversaries invite. Celebration risks a kind of institutional complacency, and he distrusts it. “It makes me feel very old but also quite energised,” he says of the quarter
The project’s early and somewhat heretical distinctiveness, in Tim’s telling, lay in its refusal to remain interpretative. Museums and science centres, he argues, too often serve either the vanity of their curators or the passive expectations of their audiences. Eden attempted something riskier: to build and demonstrate at scale. Soil was made –80,000 tonnes of it – where none existed.
Engineering pushed at unfamiliar limits, with structures calibrated to weigh no more than the air they enclosed. A geothermal system was sunk deep into the ground. These are facts that can be recited, but Tim is more interested in the difficulty of making them matter in a world that has gone purblind.
He returns repeatedly to communication as a means of offering up some means of moral clarity. The problem, as he frames it, is not a shortage of information but a failure of emphasis and the means to interpret it. There is a problem with language and the hubris it encourages. “Unsinkable ship sinks,” he says of the Titanic, reducing an encrusted story to three words. The challenge for places like Eden is to trust such directness without alienating the very people it is trying to convince.
scarcity. April was known as the “dying month”, when supplies ran low. Today, abundance is simulated year-round, its costs displaced geographically and socially. “Our hungers are being flaked all over the world for us,” as a warning about dependency.
If this sounds like a critique of the wider culture, it is. Tim speaks of a society that has become estranged from the systems that sustain it, a condition he describes bluntly as infantilisation. The example he favours is seasonal food. Refrigeration, he notes, only became widespread in the mid-20th century; before that, horticulture required an understanding of storage, timing and
It is here that Eden’s purpose shifts from demonstration to interrogation. The project is often mistaken, Tim suggests, for a form of entertainment with an environmental theme. “If we’re a theme park, the theme is life,” he says, but the intention is to restore a sense of agency rather than offer a kind of passive distraction. He also resists narratives that elevate individuals at the expense of collective effort. “The story is always the name of the person and their age… it becomes the Tim Smit story. But it’s not true.” Eden, he argues, is closer to a band than a solo act, dependent on the chemistry of many participants rather than the ego of one.
This suspicion of hero-making feeds into a broader critique of how ambition is framed. Political language, he suggests, has narrowed to the “art of the possible”, often defined so modestly as to be hidden. Against that, he proposes something more expansive. Eden, in his formulation, acts
as a kind of “exorcism of the bleak and the downtrodden”, not through rhetoric but through visible, collective action. The examples he values most are not the headline events, but the incremental transformations that rarely make the news.
He describes a walking group of people with chronic respiratory conditions: individuals arriving barely able to move, gradually extending their range through mutual encouragement. Over time, they form friendships, travel together, elevating their sense of what is possible. The scale is small, the impact immediate. “When things are really big, you realise how the small things are the most important of all,” he says. It is a line that cuts against the visual drama of the biomes but sits comfortably with the project’s underlying logic.
Tim’s thinking has, if anything, become more political with time, though he resists being pigeonholed. He does not reject capitalism outright but questions its current practice.
“There’s nothing wrong with the idea of people putting their assets together… nor yet is there any crime in profiting,” he says, before adding the caveat that profit cannot come at the expense of shared resources. His interest lies in circular systems, where waste becomes input, and in what he calls “muscular localism”: economies rooted in place, attentive to available materials and skills, capable of generating value without external depletion.
Cornwall, he suggests, offers a test case. Auditing regional resources, revisiting discarded techniques with contemporary tools, investing collectively where individuals cannot – these are not abstract proposals but practical ones. The difficulty, as he sees it, is institutional imagination or rather the lack of it: “If governments were intelligent… they would understand.” It is an argument less about ideology than about competence and common sense.
For all the intensity of his critique, Tim returns to a simpler proposition: that people want to feel capable of shaping their world.
“Ask any 10-year-old what they might dream about creating,” he says, and the answers will tend towards the grand and the improbable. The failure, in his view, lies not in those ambitions but in the cultural signals that discourage them. Eden’s role, then, is partly corrective: to show that large-scale projects are not the preserve of a gifted few but the outcome of collective effort sustained over time.
If Tim provides the provocation, Andy Jasper, Eden’s chief executive, offers the operational view. His route to the role is characteristically Cornish: an early desire to leave a region he experienced as economically constrained, followed by a gradual return shaped by opportunity and attachment. “The first thing I wanted to do was get out of Cornwall… and then, of course, once I was out, all I wanted to do
was come back,” he says. That oscillation between departure and return mirrors the county’s recent history and informs his sense of what Eden can and should do.
Andy’s immediate task on returning to Eden was stabilisation. The past quarter-century has included periods of strain as well as success, and the pandemic exposed the fragility of visitor-dependent organisations. Recovery, he suggests, is ongoing across the sector. Eden’s response has been to consolidate its core while extending its reach through programmes that operate beyond the site itself.
The numbers are not incidental. An impact report commissioned for the anniversary estimates that £210 million has been invested in capital assets to date, building on an initial investment of £142 million, £56 million of which came from the National Lottery Millennium Commission, and that this has generated £6.8 billion for the local and regional economy. The figures are striking, but Jasper is careful to situate them within a broader narrative of social and environmental engagement. Initiatives such as the Big Lunch, which encourages neighbourhood gatherings, now involve more than ten million participants annually. Nature Connections, developed in partnership with academic institutions,
links time spent outdoors with measurable improvements in mental health.
These programmes illustrate a shift in emphasis from destination to network. Eden remains a major attraction, among the most visited in the region, but its influence is increasingly distributed. The Eden Project is, in fact, a registered charity, and that status underpins much of what follows: funding, memberships and money spent on site are channelled back into the organisation’s education, nature recovery and community programmes, extending their reach well beyond Cornwall. The organisation supports projects elsewhere, from Morecambe to Scotland, responding to invitations from communities seeking similar forms of regeneration. The Morecambe development, backed by significant public funding, is intended as both replication and evolution, informed by Cornish experience but shaped by local conditions.
Andy is candid about the risks. Expansion requires capital, coordination and a tolerance for uncertainty. “We could have a much easier life by not doing that sort of thing,” he admits, before conceding that ease is not the point. The ambition is to translate lessons learned in one place to others
Andy Jasper
without diluting their specificity. There is also, he notes with a degree of relish, the possibility that new sites will outperform the original, forcing Cornwall to reassess its own standards.
Competition, in the conventional sense, is not his primary concern. Cornwall’s landscape is dense with attractions, from historic gardens to contemporary installations, and their success is interdependent. Visitors do not come for a single experience but for a sequence of them. Eden’s role, as Andy frames it, is to anchor that sequence, providing a rationale for travel that benefits neighbouring sites. “Everybody’s success actually feeds the success,” he says, a formulation that aligns neatly with Tim’s emphasis on systems.
At the heart of Andy’s thinking is a straightforward premise: that human wellbeing is inseparable from the health of the natural world. “Human beings are as much a part of nature as any other part,” he says. The statement is not radical in itself, but its implications are often neglected. If damaging ecosystems equates to damaging ourselves, then environmental degradation becomes less an abstract crisis than an existential threat. Eden’s task is to make that connection real without breeding a climate of fearful despair.
The anniversary, then, functions less as a marker of completion than as a hinge between phases. The first 25 years established credibility, built infrastructure
and acted as a testing ground for ideas. The next will determine whether those ideas can scale without losing coherence. Both Tim and Andy return, in different ways, to the question of narrative: how to tell a story that is neither complacent nor paralysing, that acknowledges difficulty while retaining the possibility of change.
There is no shortage of grand language available to describe such ambitions, but Eden’s founders tend to avoid it. Instead, they circle around a set of practical concerns: soil, water, energy and community. The biomes remain, their geometry still arresting, but they are no longer the sole point of interest. What matters, increasingly, is what happens around and beyond them. In this sense, they are the hub from which conversations will begin, inspiring projects and challenging long-held habits that have outstayed their welcome.
It would be easy to reduce this to a familiar arc – vision realised, legacy secured – but that would misrepresent the tone of both interviews. There is pride, certainly, but it is tempered by impatience. The problems that animated Eden’s creation have intensified, not receded. If anything, the project’s success complicates its position, raising expectations while exposing limitations.
And yet, for all the critique, there is a persistent confidence in collective capacity. Not the grand, abstract confidence of policy documents, but something more grounded:
A Cornish Retreat for Every Kind of Escape
Set across 34 acres of peaceful countryside, Old Lanwarnick is a place to breathe, explore and unwind. Enjoy woodland walks, enclosed dog fields, and friendly animals — from our gentle alpacas to playful pygmy goats. We’re proud to be eco-conscious, caring for our land and wildlife through sustainable practices. Stay in luxury glamping pods, converted stables, or our 17th-century farmhouse, with accommodation for up to 37 guests — perfect for group getaways.
Just a couple of miles from the coast and close to popular attractions like the Eden Project, it’s the ideal base for your Cornish escape.
the belief that people, given the opportunity and the tools, can organise themselves differentl . t is an unfashionable idea in some circles, dismissed as naive or i practical. den, in its particular a , continues to argue the opposite. hether that argu ent ill carr the ne t 25 ears re ains an open uestion. hat is clear is that the project has no intention of retreating into heritage. f there is a lesson to be dra n fro den s first uarter centur , it is not just that transformation is possible but that it re uires constant revision and adaptation.
Tim, for all his reservations about anniversaries, offers a final, practical invitation. ver bod ho ants their
children to feel that there s a bright future is still ours to make should come,” he sa s, not to ad ire hat has been done but to consider hat ight follo . nd , more measured, echoes the sentiment in operational terms: invest locally, think nationall , act ith intent.
et een the , the s etch a project that by its very dynamic nature resists categorisation. t is neither purel educational nor purely recreational, neither entirel local nor full global. t sits, instead, in the tension bet een those positions, dra ing energ fro dialectical reasoning.
edenproject.com
BeyondDRIVE the
WORDS BY HANNAH TAPPING
he nest spaces ha e alwa s ser ed ore than one purpose. t orsche entre eter a new series o owner e ents is rede ning what it eans to elong to the orsche a il .
APorsche showroom at rest has its own atmosphere: the gleam of precision engineering, the clean architectural lines and a sense that everything here has been positioned with thought and purpose. Even the air p ays its part as espo e ors he s ent dri s through the space. Subtle but distinctive, it’s the olfactory equivalent of a signature. It is, perhaps, an unlikely setting for a Pilates class… and yet, as Porsche Centre Exeter opens its doors to a new series of owner wellbeing events, it feels perfectly placed. er a , ors he has a ways nderstood that performance is not only about what happens on the road.
The morning unfolds with ease as guests arrive to nd the showroom transformed Mats are laid out among the cars, daylight oodin thro h the e pansive ass frontage, the usual hum of commerce replaced by something more personal. The setting is striking and the kind of environment that invites you to stand a little taller, to be more present.
Leading the session is Radiant Pilates, whose instructors bring both warmth and expertise to the morning. We are invited to make our movements precisely and with intent; qualities that, in their own way, echo the Porsche ethos entirely. Whether you were a seasoned practitioner or stepping onto a mat for the rst time, the ass offers genuine restoration. We are invited to bring the attention to our breath, alignment and focus. The same fundamentals, in many respects, that make a great drive.
erwards, ests athered with a ai ow s and matcha from JuiceKing. It’s so good to share vibrant, nourishing, beautifully presented food with new-found friends. onversation ows easi y in the way it does when there’s a shared experience in an exceptional space. Porsche encourages connection and this morning has it in abundance.
What Porsche Centre Exeter is cultivating here is something ambitious: a community built around more than horsepower.
he showroom, so o en tho ht of as a destination for the transaction of buying a car, reveals itself as a space with genuine versatility. At once sophisticated, calm and welcoming, it is a place to pause. Such events are an extension of the relationship the Centre holds with its owners and a recognition that Porsche
owners place value on more than spec sheets and service intervals. Rather they value time well spent.
The next gathering is already anticipated. In the meantime, the 911s gleam on. porschee eter.co.u
MODERNITY Measured
re ned coastal house displa ing an appreciation o scale and considered detailing.
Spind ewood is a on dent pie e of ontemporary ar hite t re, e tendin to more than , s are feet and arran ed with arity and p rpose a ie tan ey introd es a ho se where spe i ations have een hand ed with are f hei ht entran e ha sets the tone, eadin to a enero s ivin room with an inset rep a e and a e i e sn that an serve as a fo rth edroom with en s ite
he erman it hen, nished with tha p a inetry and a ena app ian es, an hors dai y ife and opens to a por e ain ti ed terra e thro h i fo d doors nder oor heatin , so ar and ens re e ient performan e
pstairs, the prin ipa s ite in des a dressin room and a we proportioned athroom hree f rther edrooms maintain the same standard
o th fa in ardens are str t red and f n tiona , whi e ated par in omp etes this pra ti a , we reso ved oasta home ositioned ose to onstantine ay and revose o f
SPINDLEWOOD Guide price: £2.1M
JACKIE STANLEY 01841 532555
sales@jackie-stanley.co.uk
jackie-stanley.co.uk
CHARACTER Rich in
A period property that has the hall ar s o su stance o ering space and practical a il li ing.
The Old Vicarage presents a substantial period house set within well-managed grounds that extend to formal gardens, a swimming pool and a tennis court. Approached y a on driveway, the ho se ma es a on dent rst impression, with ori ins datin to the th century and later additions shaping its current form. Inside, a galleried entrance hall sets the tone, leading to a sequence of well-proportioned reception rooms. The sitting room and drawing room oth retain ori ina rep a es and enero s windows, whi e the dinin room offers a straightforward space for larger gatherings.
The kitchen/breakfast room balances tradition with day-to-day use, supported by a larder and utility. Bedrooms are arranged across two pper oors, providin e i i ity for fami y ife and guests. Located in Gwinear, the property ene ts from a sett ed r ra settin with a stron local community and accessible connections across west Cornwall.
THE OLD VICARAGE Guide price: £1.8M
JACKSON-STOPS 01872 261160
cornwall@jackson-stops.co.uk
jackson-stops.co.uk
Oak frameCRAFT
WORDS BY JAMIE CROCKER
Two Cornish businesses collaborated to shape Halwyn’s restaurant.
On the edge of Crantock, a new purpose-built structure houses the latest venture of the Eustice family, combining dining, recreation and community in a single space. It is the culmination of decades of local farming history and the vision of Will Eustice, a fourthgeneration custodian of Trevowah Farm.
The restaurant and bar building, now open to the p i , e emp i es how local expertise and careful collaboration can produce architecture that is both functional and characterful. Central to that achievement is the oak frame, designed and installed by Cornwall-based Post & Beam, whose team worked alongside Will from the ear iest desi n s et hes to the na rane i on site
he ori ins of a wyn are rooted rm y in the land. Trevowah Farm was purchased in 1944 by Will’s great-grandfather, Captain a , and farmed y ve s essive generations of the Eustice family. Over the years, the farm adapted to the challenges of local agriculture, from dairy ambitions to beef and vegetable production. That same ability to adapt and operate within the realms of a community-based ethos informs Halwyn today, making it a space for social connection and local enterprise. While mini-golf provides one draw, the main focus remains on food, drink and the sense of gathering. It is precisely this dual purpose, activity and hospitality that shaped the architectural requirements of the new building.
SUSTAIN
Will’s approach to Halwyn was hands-on. Having spent nearly a decade in London and time in Vancouver, he returned to Cornwall with an understanding of design and project management that is unusual in a client. He engaged Post & Beam not simply as contractors, but as design partners. The collaboration began with discussions in their workshop, followed by a tour of some of the company’s past projects, including the Tremenheere Sculpture Gardens. There, over offee in the af , ideas took shape, informed by the lessons of previous commercial timber buildings. The project demanded a balance between structural integrity, aesthetic presence, and a welcoming atmosphere, criteria that guided every conversation and decision.
e posed eams and aref y ra ed oints give the interior a feeling that reaches down into something primaeval in all of us, one that few other materials can match.
For Post & Beam, the oak frame, as always, was the de nin e ement i wanted the oak incorporated to give the building a special, welcoming and warm feel as well as an instant sense of age,” explains Tom from Post & Beam. In a hospitality setting, a frame of this nature does more than hold up a roof; it sets a tone, creating a sense of permanence and care that visitors can feel immediately. Structurally, oak provides durability and resilience, essential in a coastal environment where buildings must endure variable weather. Visually, the
The fabrication process is exacting. Each timber, sometimes weighing half a tonne, was selected, graded and laid out in twodimensional orientation on the workshop oor or a wyn, the team invested three to four weeks preparing the frame before it was transported to Crantock, where a crane was required to raise the structure over three days with a team of four carpenters. During this phase, Will remained closely involved, visiting the workshop to review joint details and nishes e isions about reclaimed timber, oint types, and nishin were discussed and tested, a process that demanded both patience and mutual respe t etween ient and ra smen
Collaboration was central throughout the build. Will’s dual role as client and project manager was unusual, but it allowed for a id e han e of ideas and de isions on site, which aided the whole process. He maintained the vision for the building while also seeking input from Post & Beam and structural engineers, creating a dynamic in which expertise was acknowledged without compromising intent. Practical
Halwyn entrance
TOP
Tom, Will and Ludo discuss in workshop
considerations sometimes required adjustment, as with a proposed use of reclaimed timber from a Dutch mill, which was ultimately set aside due to structural and cost implications. These decisions were part of a two way onversation, re e tin the professionalism and experience both parties brought to the project.
Also integral to the project was Josh Little and his company Roseland Restoration, the main contractors who worked seamlessly with Will and Post & Beam to deliver the project on time. Overseeing the whole exercise they worked tirelessly on-site going above and beyond to make it a success.
Halwyn also represents a moment of local collaboration. Both Will and Post & Beam are Cornish businesses, and their partnership underscores the capacity of the region’s skilled trades and design professionals to execute complex commercial projects.
he nished i din re e ts this aref p annin and shared effort ts oa frame is immediately apparent on entering, lending an impression of solidity without ostentation. The interiors balance openness and intimacy, accommodating the demands of a busy restaurant and bar while maintaining a connection to the surrounding landscape. he ra smanship spea s to the te hni a skill of the team, yet it also communicates something subtler: the value of design that is grounded in understanding, collaboration and local knowledge.
Post & Beam, whose portfolio includes residential and commercial commissions across Cornwall, notes that local projects ho d parti ar si ni an e e ta e pride in seeing our work on show in commercial buildings where the public can enjoy the space,” says Tom. Halwyn is now part of that ongoing story, contributing to the identity of the area while serving a practical purpose.
Halwyn transcends the sum of its parts – the architecture, the furnishings, the curated experience, and the layers of family history that shape it. Under Will’s meticulous direction, every detail feels deliberate with nothin e to the vagaries of chance. Branding, interior layout, and architectural decisions were considered collectively, producing a space that is oherent and on dent he oa frame, while central, is part of a broader expression of identity, one that honours the farm’s lineage while presenting a contemporary, functional destination.
Halwyn now operates as a hub for both locals and visitors, with food, drink and activities arranged to encourage interaction and enjoyment. The oak frame structure
acts as a testament to what can be achieved when local knowledge and specialist skills converge. It is an outcome that resonates beyond the immediate function of the building; it is a marker of capability within Cornwall itself, demonstrating that ommer ia pro e ts an om ine ra and design aligned with community needs.
For Post & Beam, Halwyn joins a body of work that includes some of Cornwall’s most recognised timber buildings, from galleries to residential projects. Yet this commission stands out for its intensity of collaboration, the client’s engagement and the opportunity to shape a space that will see daily public use.
It is, in many ways, a culmination of years of experience applied in a highly
visi e onte t he rm s invo vement has ensured that the oak frame is not merely decorative but central to the building’s structure, atmosphere and identity. It is a statement piece, not only for the Eustice family but for the broader community of local designers, engineers and ra speop e n a sin e str t re, it celebrates heritage, precision, and a willingness to invest thought and energy in creating something of enduring value. In that sense, the success of Halwyn is measured not only in its architectural achievement but in the way it draws people together, supports local skills, and reinforces the region’s identity as a place capable of delivering ambitious, highquality destinations.
post-beam.co.uk
On FISH
WORDS BY NATHAN OUTLAW
Michelin-starred Nathan Outlaw distils three decades of e erience as a fore ost fish chef in a rand new hand ook on cookin fish.
Extracted from On Fish: A Seafood Handbook by Nathan Outlaw is out now (Kyle Books, £30). Photography and props: Kate Whitaker
SERVES: 4
INGREDIENTS:
Braised Fillets of John Dory with Soy, Ginger & Celery
4 celery sticks, peeled and sliced
2 ohn or , 5 g lb 2o each, filleted and s inned, each fillet cut into 6 spring onions, sliced g o fresh root ginger, peeled and finel chopped green chilli, deseeded and finel sliced Sea salt and freshly ground black pepper
For the braising stock:
2 l fl o fish stoc l fl o hite ine
METHOD
ohn or is a fish that varies in shape and size and can be tricky to get just right when ou coo the fillets off the bone. find it better to fillet the fish and then brea it do n into the natural ini fillets . his gives ou si nice pieces fro one fish, especiall if the re 1kg (2lb 4oz) plus, allowing you to check ever piece of fish hen coo ing. i pl re ove the s aller pieces as the re done, leaving the thic er pieces to continue coo ing. he coo ing techni ue ith this dish is nice and gentle, allo ing ou to see hat s going on. You can serve this as a starter or add so e rice and e tra vegetables for a ain course.
Heat the ingredients for the braising stock in a large, ide pan ith a tight-fitting lid. tir until the sugar has dissolved.
l fl o ater
l fl o so sauce
5 l 2fl o hite ine vinegar
20g (¾oz) caster sugar
To serve:
1 orange, segmented handful of coriander leaves
2 spring onions, finel sliced
4 teaspoons toasted sesame oil
Add the celery to the pan and simmer gently for 5 minutes.
eason the fish ith salt and pepper, then add it to the pan along with the spring onions, ginger and chilli. Put the lid on and simmer gently for 5 minutes.
ar serving bo ls. nce the fish is coo ed, share it a ong the bo ls and pour over a fe spoonfuls of the braising stock along with a portion of the braised celery. Add an orange seg ent to each piece of fish, scatter over the coriander leaves and spring onions, dri le ith the sesa e oil and serve.
Deep-Fried Oysters in a Seeded Crumb with a Barbecue Sauce
SERVES: 4 ( AS A STARTER)
INGREDIENTS:
2 live ediu acific o sters
g o plain flour
2 eggs, beaten
2 teaspoons sesame seeds
2 teaspoons pumpkin seeds
2 teaspoons poppy seeds
2 teaspoons sunflo er seeds
100g (3½oz) breadcrumbs unflo er oil, for deep-fr ing
Sea salt and freshly ground black pepper
For the barbecue sauce: live oil
½ onion, chopped
2 garlic cloves, chopped
½ green chilli, deseeded and chopped
METHOD
risp o sters are a fir favourite ith our custo ers at the restaurants. he te ture is so good and, let s face it, if ou breadcru b so ething, nine ti es out of ten it s delicious he barbecue sauce is a great recipe to have made up for other uses too, but with these crispy oysters it works a treat.
o a e the barbecue sauce, heat a fr ing pan over a ediu heat and add a dri le of olive oil. When hot, add the onion, garlic, chillies and red pepper and sweat for 2 minutes. Add the oregano, smoked paprika, fennel seeds and orange zest and cook for another minute. Next, add the sugar, to atoes and ine vinegar, stir until the sugar is dissolved, then bubble to reduce until syrupy. Add the orange juice, apple juice and mustard. Bring to a simmer and bubble until the li uid has reduced b half. aste and season ith salt and pepper as re uired.
ip the contents of the pan into a food processor and blit for 2 inutes. train through a sieve into a bo l and leave to cool. his sauce ill keep in the refrigerator for 1 week.
1 smoked chilli, chopped
1 red pepper, deseeded and chopped oregano sprig, leaves pic ed and finel chopped
1 teaspoon hot smoked paprika
1 tablespoon fennel seeds
Zest and juice of ½ orange
50g (1¾oz) caster sugar
2 g o good- ualit canned chopped tomatoes
5 l 2 fl o red ine vinegar
5 l 2fl o apple juice
1 teaspoon English mustard
To serve:
Dampened sea salt, to sit the oyster shells on ¼ iceberg lettuce, shredded
huc the o sters and reserve the shells. lean the oyster shells, then mix some sea salt with a little water to the texture of wet sand. Place little piles of wet salt on a platter with an oyster shell on each one.
hen ou are read to serve, put the flour into a bowl and season with salt and pepper. ave the beaten eggs read in a separate bo l. n a third bo l i the seeds ith the breadcrumbs.
Heat a deep-fat fryer to 180°C (350°F) or heat so e sunflo er oil in a deep, heav -based pan not filling ore than t o-thirds full . ne b one, pass the o sters through the flour, then the egg and finall the seeded breadcru bs to coat thoroughly, laying them out on a tray ready to cook. Deep-fry the oysters for 1 minute until crisp, then drain on kitchen paper.
o serve, place so e shredded lettuce into each oyster shell, add a crispy oyster and spoon a little barbecue sauce on top. erve hot.
Mackerel Tartare with Beetroot & Apple
SERVES: 4 ( AS A STARTER)
INGREDIENTS:
2 ver fresh large ac erel, gutted, filleted, pin-boned and skinned shallot, finel chopped green apple an acidic variet , peeled and diced
1 tablespoon small capers in brine tablespoon chopped tarragon leaves tablespoon cider vinegar
Sea salt and freshly ground black pepper
For the beetroot:
2 large beetroot, washed l fl o cider vinegar
2 sprigs of tarragon
a dri le of e tra virgin olive oil shallot, finel chopped
To serve:
tablespoons e tra virgin olive oil
2 handfuls of watercress, washed
METHOD
f ou fanc giving a ra dish a go at ho e, this one is a great place to start. he hardest part will be getting the mackerel at its best, but ith prior arning a good fish onger should be able to get ou so e. f not, this dish ould or ell ith bass or brea . f ou don t happen to be a beetroot lover ou can substitute it for fennel or cucumber.
o coo the beetroot, place in a saucepan and cover ith ater. dd the vinegar, tarragon and 2 teaspoons of salt, then bring to a simmer and cook for 30–40 minutes until tender. nsert a s all nife into the beetroot to see if it s coo ed. eave to cool in the ater.
hen cool enough to handle, re ove the skin and cut 4 thin slices from one beetroot.
inel chop the rest. a the slices out on a tray, season with salt and pepper then dri le ith the e tra virgin olive oil. eave to cool completely.
or the tartare, cut the ac erel fillets lengthways, then cut into rough dice. Place all the fish in a bo l ith the shallot, apple, capers and tarragon. Season with salt, pepper and the vinegar. i ell, but ith a light touch.
o serve, ta e cold plates and place a slice of beetroot on each. Share the mackerel tartare alongside. i the chopped beetroot ith the shallot and the 6 tablespoons of extra virgin olive oil, then add to the plates ith some watercress.
Learningtraditional WISDOM
WORDS BY JAMIE CROCKER | IMAGES BY JOYA BERROWS
From online fame to land-led living and shared knowledge.
There are worse places to be stranded than Barcelona, though few would choose six hours of enfor ed re e tion etween departure boards and another airport offee or a arries, it e ame an apt pause in transit: a moment that mirrors a broader recalibration, one that has ta en him from ear y internet notoriety to a s ower, more de i erate en a ement with and and earnin
a rst ame to prominen e as one ha f of a YouTube channel launched in 2011, at a time when the notion of an in en er had yet to a ify into an ind stry hat e an as i ht hearted ms made with his twin rother evo ved into a trave series and do mentary
wor , amassin mi ions of fo owers and p a in him at the forefront of the new media ands ape et the ve o ity of that rise, o p ed with the demands of onstant visi i ity, prompted a estion that wo d in er what, pre ise y, was the point of it all?
hat estion ed him toward environmenta storyte in , a shi in en ed in part y his p rin in is mother, an a tivist, had introd ed him ear y to protest and political en a ement a arried that forward into his wor , prod in ms on imate han e, attendin global conferences and a i nin himse f with movements s h as tin tion e e ion or a time, it appeared a natural progression – using rea h and in en e to address r ent
on erns t the dissonan e etween messa e and method proved di t to i nore re ent yin and the me hani s of di ita prod tion sat neasi y a on side a s for systemi han e
The turning point was brought about ess via a sin e rea isation on the road to amas s than an osmoti a m ation of o servations rave in a ross the to do ment rassroots environmenta pro e ts, a en o ntered individ a s wor in at a different s a e a ardener in otnes tivatin food and omm nity a renewa e ener y pioneer in r ney those restorin fra ments of temperate rainforest heir wor was not performative, see in adoration, nor presented through screens, t pra ti a and ro nded
rom there, the idea of reorientin his own ife e an to ta e shape at in ondon was sold, and a search began – not for a nished o i idy , t for a p a e that re ired ra er more than a year of oo in , he fo nd it in ornwa an o d water mi , on in need of repair, set eside a river and ontainin the remnants of a def n t hydro t r ine he appea was immediate, tho h not romanti he i din demanded wor , and the and demanded now ed e now ed e that he did not yet possess t was een to earn
ovin there f time, a met the imits of his own e perien e as s as f ndamenta as rowin food or identifyin p ant spe ies proved nfami iar he ad stment was not instant, nor parti ar y e e ant
t re ired patien e and, r ia y, the wi in ness to earn from others ne s h re was a o a postman, ar , who approa hed a with a pra ti a re est to ra e horses on the and hat fo owed was an informa apprenti eship essons in anima are, seasona rhythms and the everyday de isions that nderpin r ra e isten e
his dissemination of now ed e e ame entra to a s thin in is tho hts ossomed as he e an to onsider how m h of this nderstandin had s ipped from wider ir ation, parti ar y amon yo n er enerations raised in r an or di ita environments hat start ed him was the sheer distance between origin and nderstandin where thin s ame from, how they were made, how they wor ed t was not st a a of now ed e, t a a of e perien e not mere y that peop e himse f in ded did not now, t that they had never done
t the same time, he e ame in reasin y interested in the broader context of traditiona s i s in ritain or s s h as ra and y ames o offered a sef frame, do mentin the persisten e of ra s and the individ a s s stainin them hese were not re i s, t ivin pra ti es a smithin , fora in o en arried o t eyond the rea h of mainstream attention heir re evan e e tended eyond nosta ia n e o o i a terms, they fre ent y ontri ted to iodiversity and ands ape mana ement in so ia terms, they fostered onne tion and ontin ity
t is from this onver en e of in en es that i d a es has emer ed, a s atest vent re and one that si na s a depart re from his ear ier wor whi e retainin its omm ni ative intent and hanne s he pro e t see s to onne t pra titioners of traditiona s i s, what he terms wisdom eepers , with those interested in earnin from them he emphasis is on dire t en a ement e perien es that ta e p a e in e ds, wor shops and wood ands
he initia phase, nown as the prin ir e, has ta en the form of a si wee on ine pro ramme, rin in together participants from m tip e o ntries with a sma ro p of spea ers mon them are rowers, storyte ers and homesteaders, ea h offerin a different perspe tive on seasona ivin and pra ti a now ed e hi e the format remains di ita for now, a is ear that it is a means rather than an end he on er term am ition is to esta ish a p atform thro h whi h peop e an oo in person e perien es a ross the with wee ends spent earnin a ra , nderstandin o a e osystems, or simp y parti ipatin in forms of wor that have tan i e o t omes here is, inevita y, a tension in i din
s h a p atform sin the very te hno o ies that many parti ipants are see in respite from a a now ed es this ontradi tion witho t attemptin to reso ve it neat y o ia media, a er a , provided the foundation for his career and continues to p ay a ro e in rea hin a dien es et his own re ationship with it has shi ed mar ed y the app i ations themse ves are a sent from his phone, and his en a ement is in reasin y strate i rather than ha it a
his am iva en e re e ts a wider sentiment mon those invo ved in i d a es, there is a recurring articulation of disconnection, both from the nat ra wor d and from ea h other t is not framed in a stra t terms, t in the spe i s of dai y ife time spent indoors, intera tions mediated thro h devi es, a a of fami iarity with the pro esses that s stain asi needs he response, in this onte t, is not ideo o i a t pra ti a earnin to row ve eta es, to i d with nat ra materia s, or to re o nise ird a s e omes a way of re esta ishin onta t
ornwa , where a is now ased, provides oth a a drop and a point
of referen e he o nty s ands ape, shaped y ent ries of h man a tivity, offers n mero s e amp es of the interp ay etween tradition and adaptation t is a so a p a e where estions of e on in and identity arry parti ar wei ht a is ons io s of his position as an in omer, and of the need to approach his project with sensitivity to o a onte t
he history of the mi itse f reinfor es this perspe tive ri ina y renovated in the s y a previo s owner, who do mented the experience in a published account, it stands as a reminder that ea h generation inherits both structures and de isions he presence of the old turbine, once part of a system of renewa e ener y efore the widespread adoption of fossil fuels, adds another ayer t s ests that the te hno o ies o en framed as new may, in fa t, e redis overies
approa h a i ns with a roader effort to draw se e tive y from the past, retainin pra ti es that remain ene ia whi e re o nisin their imitations
In this, there is a parallel with institutions such as the Eden Project, where ontemporary environmenta initiatives are informed y oth s ienti resear h and histori a nderstandin
The challenge lies in integrating these strands without resorting to either idealisation or omp ete dismissa
or a , the tas is on oin i d a es is sti in its ear y sta es, and its timate form remains open hat is ear, however, is the dire tion of trave away from a stra tion and towards app i ation away from s a e for its own sa e and towards spe i ity t is a shi that mirrors his own tra e tory, from do mentin e perien es to a t a y inha itin them
Discussions around land use and environmenta impa t are never strai htforward ven the water mi s that on e powered r ra e onomies have een imp i ated in e o o i a disr ption, parti ar y in re ation to river systems and sh mi ration a does not see to simp ify these omp e ities nstead, his
a in ar e ona, the de ay event a y reso ves itse f, as s h thin s tend to do i ht is oarded, a o rney res med Yet the pause lingers in the telling, as a reminder that movement, in a its forms, ene ts from interr ption now and then ne essary in onvenien e to earn from
wildtales.earth
As nightFALLS
WORDS BY HANNAH TAPPING
Employing colour, texture and atmosphere to create unique night-time narratives.
Diane ri ths is se f ta ht ai in from the id ands, she spent over a de ade wor in in the media ind stry in ondon efore movin to ew ay in , where she now ives and ontin es to wor a on side paintin y a ro nd in media has shaped how approa h my pra ti e, parti ar y aro nd omm ni ation and a thenti ity here s no sin e path into art, and that s somethin ve ome to appre iate try to stay tr e to my own voi e, fo sin on wor that fee s honest rather than respondin to e terna press res or iane, there wasn t a sin e de nin moment that inspired her to e ome an artist, more a rad a rea isation ve a ways een drawn to i ht and atmosphere, parti ar y at ni ht, somethin that e an with on e pos re photo raphy spent a ot of time apt rin ni ht s enes with
my tripod and amera now m h easier with smartphones , whi h made me more aware of how i ht ehaves, how o o rs transform and how environments han e a er dar ver time, paintin e ame ess a o t prod in an ima e and more a o t nderstandin those moments, why they fee fami iar or meanin f t rew from somethin o asiona into somethin wanted to p rs e more serio s y
aintin a ows iane a a an e etween ontro and interpretation that rea y s its what she s tryin to apt re, as she e p ains he s e ts m drawn to re e tions, arti ia i ht, atmosphere, don t trans ate in a p re y itera way want the wor to e re o nisa e, t a so to o eyond representation aintin ives me the freedom to ad st o o r, so en detai and fo s on what the moment fe t i e rather than e a t y how it oo ed
CREATE
he s ower pro ess a so re e ts the themes in my wor , where o servation and rad a nderstandin are entra
er wor fo ses on everyday s enes a er dar p a es we pass thro h witho t thin in too m h a o t them d rin the day his mi ht e a petro station, a e e at a food ios , a s stop, or a stret h of road on the way home m interested in the shared nat re of these e perien es, the idea that they re not tied to one spe i p a e t fee wide y re o nisa e i ht p ays a entra ro e, parti ar y how nat ra and man made i ht transform these environments at ni ht, revea in somethin ieter and more re e tive within otherwise ordinary settin s
he pro ess e ins with o servation t s important for iane to e perien e a p a e rst, to nderstand how it sits within its s rro ndin s and how the e ements onne t he then ma es menta notes a o t str t re, i ht so r es and atmosphere, s pported y referen e photos a in the st dio, she wor s from a om ination of memory and referen e, rad a y i din the paintin in ayers t a ertain point, step away from the photos and a ow ima ination to ta e over he aim is not to re reate the s ene e a t y, t to arrive at somethin that fee s tr e to the e perien e, she says
primari y wor with a ry i , sometimes om inin it with other media to i d te t re and depth y pa ette is ed y the s e t, t ni ht s enes nat ra y draw me towards deep es, warm arti ia i ht, and stron ontrasts, adds iane m interested in how o o r an s est i ht rather than
des ri e it dire t y ost of my paintin s are on s are anvases, whi h a ows for a ontained, a an ed omposition he s a e is intentiona y a essi e, ar e eno h to ho d presen e, t intimate eno h to draw the viewer into the s ene
iane s st dio is part of her home and, over time, the spa es have adapted aro nd her wor he dinin room has e ome her main paintin area, with other areas sed for dryin , stora e and materia s t s not a traditiona st dio, t it wor s, says iane ein in a entra spa e means m sti part of the ho seho d, whi h prefer t s ess a o t havin a perfe t st dio and more a o t havin a onsistent environment where the wor an deve op over time
iane s rrent ody of wor sits nder the m re a of he o o r of i ht, whi h e p ores how i ht transforms fami iar environments a er dar ithin that, she has een deve opin a strand fo sed on iet rit a s everyday a tions i e trave in , waitin , or stoppin rie y a on the way hese are moments that o en o nnoti ed t fee wide y shared he wor ontin es to deve op thro h new paintin s, e hi itions, and s missions to open a s, a owin the series to row whi e rea hin different a dien es
iane sees her wor as part of a wider onversation in ontemporary paintin that fo ses on the everyday here s a on tradition of artists e p orin i ht and atmosphere, t m interested in how that trans ates into modern, fami iar environments ithin a ornish onte t, the wor moves s i ht y away from traditiona oasta views and instead re e ts
the ived e perien e of p a e, parti ar y a er dar ore road y, it sits within a strand of paintin that va es o servation, shared e perien e and ieter narratives
d i e peop e to re o nise somethin of their own e perien e in the wor or e amp e, rivin ome is ased on a ara e in ew ay, t peop e o en onne t it to p a es they now from their own o rneys hat sense of fami iarity is important to me y wor is ess a o t spe i o ations and more a o t o e tive memory p a es we re o nise and moments
we ve a inha ited y aim is to show how the ea ty of everyday ife, if seen thro h the ri ht ens, is anythin t ordinary
Diane’s work can be viewed this year at the following exhibitions: 11th to 24th May – Truro Cathedral, 11th to 19th July –Trenance Cottages and 7th to 21st September – Trerice House. Recent recognition includes the People’s Choice Award at the British Art Prize and the SAA Artists of the Year.
dianegri thsart.co iane ri ths rt
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Step INSIDE
WORDS BY JILLY EASTERBY
An invitation to experience the cornucopia of colour and creativity that is Cornwall Open Studios 2026.
This May, 322 artists and makers will welcome visitors from across the county and beyond into their studios and workshops throughout Cornwall. During the nine-day event, creatives will showcase their skills, share their stories and illuminate artistic practice in its myriad forms.
The range of studios is as diverse as the landscape they inhabit; painters, potters, printmakers and photographers will join forces with carvers and calligraphers, felters and furniture-makers, sculptors and silversmiths, woodturners and weavers to provide a plethora of visual perspectives. Every artist offers a uni ue response to the interplay between land, sea, sky and the ever-changing palette of the seasons, capturing the essence of Cornwall’s wild beauty and the place they call home.
As each door opens, visitors will experience the effects of materials being moulded and manipulated, stitched and scorched, etched, stretched and fused. Oils, cold wax and charcoal; slips, glazes and oxides; soda fired porcelain and wheel thrown clay; hand-spun yarn and locally-sourced hardwood all serve to extend the frontiers
of artistic alchemy and perhaps challenge traditional concepts of what art and craft should be.
Whether you lean into the abstract or the figurative, or prefer the decorative to the digital, Cornwall pen tudios offers a rare, behind-the-scenes glimpse of Cornish creativity in all its guises as well as the opportunity to purchase original artwork at source.
Cornwall s scenery and uality of light has long captivated creative minds and Cornwall Open Studios celebrates this rich cultural heritage. It also provides yearround support for artists and makers, and aims to enrich all those who participate in this annual event.
Cornwall Open Studios 2026 runs from Saturday 23rd to Sunday 31st May. Personalised art trails can be created by using the Cornwall Open Studios website, where artists can be searched by location, discipline or number of opening days. A printed guide to aid the exploration of studios and workshops throughout the county is also widely available.
cornwallopenstudios.co.uk
Victoria Gillow
Deb Ramsay-Trease
hazelmcnab.com
Hazel McNab
Eisele
Jill
michellefootepottery.com
Michelle Foote
milliewilkins.com
Millie Wilkins
peterhodgesphotography.co.uk
Peter Hodges
stevefowler50
cornwallopenstudios.co.uk
Richard Holliday Stone Sculptor
Cornwall Open Studios - Saturday 23rd to Sunday 31st of May
Richard Holliday is part of Cornwall Open Studios again this year.
You can visit the gallery and landscaped garden housing many stone sculptures near St. Keverne. I am open for the full nine days of Cornwall Open Studios from 9.00 am until 5.pm. Please feel free to bring your lunch and enjoy the garden. If you would like to visit out of hours then just email me to arrange a time.
Richard started his career in stone as an apprentice stonemason in Cambridge working upon many prestigious historic buildings. After starting his own company and being involved in many iconic public artworks in England he moved to Cornwall to continue his work concentrating mainly upon developing his own designs predominantly selling through galleries and private clients and working with landscape architects and interior designers.
Cornwall Open Studios is from 23rd to 31st of May but the gallery is open intermittently prior to and after those dates so please contact me if you would like to visit on other dates.
