Sarah Drew

jewellery designer/maker


I have been making jewellery from odd things since I was 14, and selling my work for the past 20 years through contemporary craft shows, exhibitions and through galleries around the UK, France and in Hong Kong.

I live in St Austell with my family and dogs, and work in my studio in St Austell college. I like to escape to the clay pits near our house to walk my dogs: it’s peaceful there with big open skies to clear my head and panoramic views of St Austell Bay.

I feel encouraged that nature has taken over this industrial scar, rewilding it with brambles, heather and gorse, providing habitats for rabbits, birds, foxes and even deer.

For our Germination show I’ve made a collection of jewellery to reflect this triumph of nature over human damage, show-casing rusty metal components I’ve found there, combined with vessels to allow for wearing a plant you find so the necklace can be rewilded. It’s a hopeful collection, suggesting that even the tiniest of spaces can support new life, and contribute to counteracting climate change and pollution by releasing oxygen into the air.

The pieces are also metaphors for new, green ideas taking root and thriving in places of old, damaging ways of working and out-dated political systems. It’s a suggestion that we can take charge of our own lives and environments and improve them ourselves with nature and fresh, green ideas.

Sarah in her studio trying on a statement necklace

Karen McEndoo SWAc NAPA]

My childhood was spent in Africa, much of it in the depth of the African bush with my father where he worked for the WHO. I later studied Graphics and Illustration at Taunton more recently moving towards abstraction which better suited my response to events and scenery around me. Several years ago I made Cornwall my home, the wilderness here reflecting my memories of the colours, smell and art of Africa 

Terra Mater Art came about as a result of our collective response, as artists, to the growing concern over climate change. It is true to say that there is worldwide unease about the state of the planet, as is the apparent and increasing frustration around the slow reaction of governments to tackle global warming

Sometimes I feel completely overwhelmed by the enormity of the task and am often left with a sense of hopelessness, after all what can I do on my own? I have found the answer in my own garden in Tregony near Truro and the wilder areas around me whilst I both walk and sketch; so much better to focus on something that I can control and to encourage wildlife and biodiversity in my unkempt garden.

My painting may not be realistic in style but is influenced by areas around my home, not only because they are breathtakingly beautiful but because they are teeming with life, life that is worth celebrating, protecting and encouraging

It is fortunate that as artists we can use art as a positive medium to raise issues to hopefully engender interest and inspire others to feel the same way.

Karen in front of one her larger paintings

Jill Eisele



My painting career started as a Fine Arts graduate and has always been about moving forward with a personal visual language.

Mostly landscape inspired, I am deeply affected by the layers of history I find so powerfully in  West Penwith.

I take regular drawing and painting trips to provide copious drawings and ideas for exploration in my studio. I am inspired by atmosphere, weather and light, my work is about moments….beginnings and possibilities; layers of colour and texture, that mirror my surroundings.

I am delighted to be part of this exhibition, and will be showing work mostly originating in the strange spring of this year.


Jill in her studio

Bridget Macklin



I am a ceramic artist with a fascination for stories. Geology is at the core of my work: the forces which shape our moors and mountains, cliffs and coasts.  

Each piece of work begins with the same blank canvas:  a thin sheet of pure white porcelain with its connotations of beauty, value and fragility.  

Into this I mix local raw materials which I find whilst out walking.  These materials interact with the porcelain to build vibrant strata of colour and interest. The inside of each piece is glazed while the exterior is polished and waxed to a unique glow.

For Germination I have focused on new life, sometimes in the form of making vessels to hold and nurture seeds during the physical act of beginning to grow, sometimes it has been the birth of new ideas – many of which started to grow during the isolation imposed by lockdown.

I am an Associate member of the Devon Guild of Craftsmen and a selected member of Design Nation, a Crafts Council body set up to promote British design by some of the most innovative designers and craftspeople from across the UK.


Bridget collecting materials

Dana Finch



I work with a combination of sensory memories, impulse and painterly process, building illogical narratives from layers of paint and toil. It is a loose system of forgetting, recalling and excavating lost moments, fragments of childhood exploration and glimpses of paradise, and unfolding it all into a place apart - a place of mystery and longing. 


I have been painting all my life, and sometimes making other art forms. I studied Visual Performance at Dartington College of Art in the 1990s. I like to travel to hot places, love deserts and fountains, and now paint quietly in a studio at Trewidden Gardens surrounded by the exuberant plants that feature in much of my work.

Paula Downing

ceramic artist

My work has evolved over time and is always changing.

The ideas are a result of observations made whilst walking the moorland and spectacular rugged Atlantic coastline of Cornwall. For some years I had the privilege of living on the edge of the moorland, just out of St. Ives and very close to the dramatic Atlantic coast. The ancient sites, hilltop forts, quoits, standing stones, way markers and remnants of the mining industry in that area, were and for me still are, a constant source of inspiration and wonder. It never fails to excite me.

I find it breathtakingly beautiful, whatever the weather. I have always been fascinated by the variety of rock forms. The way the sea has sculpted powerful profiles to edge the land as it meets the sea. This thread of an idea continues in my work but is constantly changing and developing.

No two pieces are ever the same. Hopefully, my work is an honest and respectful response to the world that remains unchanged by modern humankind.

Ann-Margreth Bohl

sculptor/installation artist


Stone, Light, Shadow and Sound with their unique qualities and timelines are the starting point in my work, combining geological and universal time with endless rhythms and levels of impermanence.

I try to tap into what it means to be human, trying to make sense of the right here right now and the consequences of our actions.

When I was a young child my parents took me to many churches in my native Germany, I have a sense that the multi sensory feast housed in these buildings still finds a way into my work.

Working as a paediatric nurse with terminally ill children started in my early twenties the questioning of life, death and the transience of human life.

In the past 20 years I have been drawing and carved stone, created light and sound-installations,

collaborating with musicians, digital sculptors, light designers and sound engineers.

Through 2020 something is germinating in my work which I find hard to put into words.

I am focusing with a hopeful vision on the stillness and uncertainty we are currently living through.

In the upcoming exhibition Germination in November, I will show drawings, sculptures and perhaps an installation.

Dana in her studio

Paula on the beach

Ann-Margreth outside her studio