Q. What is the inspiration behind your work in Tideline and how does sit within the context of your work? These barriers of shapes protecting the land from the sea represent a metaphor to me of the human condition and struggles that we face. Particularly apt at a time when the nightmare that is Brexit has become real, disease has turned our lives upside down and we are on the brink of a potential world war.

Based in the small mid-Wales market town of Machynlleth, Coch-y-Bonddu Books are leading international dealers in new and out-of-print books on the subjects of angling, game shooting, sporting dogs and falconry. Coch-y-Bonddu Books grew out of the interests of owner, Paul Morgan, who issued his first catalogue of second-hand fishing and sporting books in 1982, while he was still working as a water bailiff on the River Dyfi. A series of successful and comprehensive sporting catalogues enabled Paul to take up bookselling full-time in 1990, giving him more time to travel the world in pursuit of rare and interesting books. The things I focus on in my art practice are issues that society acting as a whole can change, and it is the emphasis on values and sustainability that runs through all my work. I make many pieces that advocate for an accelerated pace of change. I find it incredible that that these issues persist, even after all the campaigning work has been done and it is law. An example is the Equal Pay Act, law since 1970 and more than 50 years later, there is still a gender pay gap. Fresh from the launch of Corpus Maris I, commissioned for this year’s Sydney Biennale, and adopting a reduced footprint approach to making that is being supported locally by Messums Creative, Julia Lohmann fabricated a series of seaweed sculptures for the gallery in Wiltshire in March. A long-time champion of kelp as a material for reimagining living with our resources, Lohmann’s luminous structures suggest new propositions for sustainable creative practice. ‘Every species has an equal right to life on this planet. We can use the same human ingenuity that has led to the climate crisis we are facing now… to protect and regenerate the ecosystem that sustains us.’ The launch of BlueMark represents the formal separation of the verification business from Tideline’s consulting business, thereby establishing a dedicated team to provide independent impact verification services. BlueMark will also serve non-US clients out of a newly established London office. Q. What is the inspiration behind your work in Tideline and how does it sit within the context of your work?

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It also introduces the theme of mapping and representation, as well as an aspect of fishing off shore, which connects us to thinking of boundaries both physical and political, and the way these lines are drawn. Charles Smith-Jones' muntjac book. Muntjac: Managing an Alien Species is a great, in-depth, look at the history, ecology, management and stalking of muntjac deer. Then we have our new edition of the classic The English Whippetby Colonel Ted Walsh and Mary Lowe. The same observations can be made about environmental pollution. By way of example, look at what we do in this country to all our rivers, where untreated sewage is dumped every day, despite laws and regulations. reefs and presented them in a series of vitrines, first shown as part of Hull’s City of Culture in 2017. BlueMark provides independent impact verification services for investors and companies. The services are designed to strengthen confidence in the achievement of stated impact goals through the verification of impact mandates, impact management practices, and impact reporting against established industry standards. Learn more at www.BlueMarkTideline.com.

No one cares for what they don’t know about and can’t see, so in understanding human nature, you can find a way to open them up to things that may not be local and in their orbit. I seek to present unique pieces of art that reach an audience, and promote conversations about how they can get involved now that they are thinking and talking about the issues. Geoffrey Wansell wrote in the Mail ‘ Penny’s ability to evoke place and fill it with a sense of dread, not to mention her cool ear for the nuances of dialogue underline the du Maurier comparison .’Contribution – Playing a differentiated role to enhance the achievement of the targeted social or environmental outcomes; and We had an amazing time in Copenhagen last week at #GIINForum23, where we were able to connect and reconnect with clients, partners, and luminaries in impact investing. In particular, it was a pleasure to celebrate the launch of the new Child-Lens Investing Framework we worked on with UNICEF USA and UNICEF. Where one body of water is sinking beneath or riding over top of the surface layer of another body of water (somewhat similar in mechanics to subduction and/or uprisal of the earth plates at continental margins). These types of tidelines are often found where rivers enter the ocean. At the centre of a programme devoted to rethinking our relationship with the environment is Messums’ 13th century tithe barn. The largest in the country, the barn gallery becomes a turbine hall for the imagination this summer starting with Tideline, a group exhibition running from 14 May – 3 July 2022. Dorothy Cross’s Jellyfish Lake was inspired by the artist’s research into pioneering marine biologist Maud Delap, who in 1902 became the first person to rear jellyfish (in an aquarium at her home in Valentia Island, County Kerry) and to observe their full lifecycle. Filmed in the lakes of Palau Micronesia (itself at the sharp end of sea level rise), the video shows hundreds of tiny, delicate jellyfish swimming around the head and shoulders of a woman, whose hair floats with them in the swilling water. Lulling and dreamlike, the film captures a moment of coexistence that brings to mind Rachel Carson’s observation, ‘It is a curious situation that the sea, from which life first arose, should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’ The challenge now is to channel the curiosity of scientists and creative thinkers towards devising new activities and modes of existence.