FEILDEN CLEGG BRADLEY STUDIOS


Right and below Dundee is earmarked for Eden Project investment, with a bold scheme by Feilden Clegg Bradley having been granted planning permission


gallery Bo Lee and Workman. T eir fi rst exhibition was a solo show for Jonathan Michael Ray. Ray told me at the opening he’d relocated from London to Cornwall prior to the pandemic, and relishes the new freedom from ever-rising rents (he also has a young family) and the supportive arts scene he has found there. Ray’s news of an expanding cultural


community in Cornwall was substantiated on a recent two-day visit to the Eden Project.


It became clear from conversations with almost everyone encountered – in cars, bars or restaurants – that a more vibrant Cornish arts scene has been generated through a new critical mass of spaces and producers, one of them being the Eden Project itself. T at iconic cluster of geodesic domes by Grimshaw Architects has become such a recognisable landmark for the region, but it is also animated by a renewed mission not just to use the horticultural and botanical


living laboratory of the domes to foster the necessary sense of wonder and appreciation of our planet’s amazing biodiversity, but to curate a cultural programme that foregrounds artists who are enriching our understanding of the environmental crisis unfolding around us. T e Eden Project’s mission includes


expansion across the UK, taking Eden Project-style experiences to other former industrial sites, thereby driving regeneration


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