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“Be still, and know that I am God.” — Psalm 46:10

The French phrase for the public holidays of May is faire le pont, or to make the bridge. It describes the habit of taking an extra day off to join a public holiday to the weekend, but it also suggests something gentler: the idea that rest is not an interruption to life, but a crossing into another way of inhabiting it. The French seem to treat rest with a seriousness we often reserve for work. A very old friend of mine gently mocks my love of French cinema, which he says consists mostly of pauses, cigarettes and people looking out of windows. But perhaps that is exactly why I love it. French films understand the importance of what happens between events: the glance, the silence, the weather in a room.

In a culture increasingly shaped by speed and distraction, this can feel quietly radical. To stop long enough to notice the light changing across a wall. To sit without reaching for something. To allow a thought to arrive fully before replacing it with another.

In The Private Life of Plants, David Attenborough observed, that if you condense three months into twenty seconds, “the desolation of Winter quickly warms into the riot of Spring.” Time often moves like that. Entire seasons disappear before we have properly inhabited them.

The May holidays always seem to mark this threshold. Winter begins to leave not dramatically, but theatrically, as though exiting a stage. Then June arrives and the body begins to trust warmth again. Winter coats are folded away. Windows remain open later into the evening. Picnics, long lunches and plans made almost absent-mindedly begin to fill the weeks ahead.

Even the fire changes character. In winter, it offers enclosure: warmth gathered against darkness. But in the early summer months, a stove lit late in the evening feels different. It is less protective than companionable. The warmth no longer stands against the cold so much as extends the day gently into night.

There is something faintly childlike about sitting beside a fire in summer. It recalls the feeling of being with an older relative whose calm presence alone could alter the atmosphere of a room. As children, we often resist slowness. Later, we begin to understand that it may be one of the conditions necessary for attention, for thought, even for joy.

Increasingly, it feels as though our minds are being trained away from wandering, from lingering, from the slow associative drift by which one thought quietly leads to another. Efficiency has become so dominant that curiosity itself can begin to feel indulgent unless it proves its usefulness.

Even rest now risks becoming instrumentalised. We speak of “recharging” as though human beings were devices. But the deepest forms of rest are often the least measurable: an afternoon dissolved in conversation, the sound of rain against a window, the absent-minded tending of a fire.

Perhaps this is why certain rituals endure. A fire gathers the senses. It slows the room. It reminds us that not everything valuable announces itself immediately. Sometimes the door only needs to open slightly, and imagination will do the rest.

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This May we welcomed our Premier Dealers back to the Isle of Wight for the Charnwood Dealer Event 2026. It was a chance to reconnect in person, share our latest developments and celebrate our community who help bring Charnwood stoves into homes across the UK and Ireland. 

This year’s message was clear, in an uncertain world, we have solutions to the challenges. For us, that means continuing to focus on thoughtful design, clean burn performance, intelligent technology and the enduring value of a reliable fire in the home. 

Over two days, we shared new products, discussed the future of the stove industry and opened up our manufacturing and engineering facilities at A.J Wells. Just as important, we spent time together, listening, exchanging ideas and celebrating the people who represent Charnwood every day. 

New additions to the Aire range Charnwood Aire 4 wood burning stove, 4.9kW manual combustion

A major focus of the event was the introduction of two new additions to the Aire range, the Charnwood Aire 4 and Charnwood Aire 400, both available from July 2026. Each stove offers a different expression of the Aire range, with the Aire 4 providing simple manual control and the Aire 400 bringing Charnwood’s intelligent combustion technology to a bold new landscape format. 

The Aire 4 is a compact manual stove with a 4.9kW rated output, 86% net efficiency and a striking flame picture. Designed for ease and versatility, it features clean burn performance and a precise single air control, making it well suited to both freestanding installations and traditional fireplaces. The Aire 400, by contrast, brings a wider view of the fire in a shallow form, with a 5.0kW rated output and 85% net efficiency. Powered by Charnwood’s intelligent combustion technology, it automatically manages airflow for optimal efficiency, refined control and excellent fuel economy. 

Together, these new models showcase Charnwood’s approach to making stoves for the way people live today. By marrying beautifully simple elegant design with highly efficient heating, Charnwood continues to lead the industry forwards. 

A refined update to the Charnwood Bay Charnwood Aire 400 intelligent wood burning stove in landscape format

We also shared the latest update to the Charnwood Bay range, featuring a new front fence for enhanced flame visibility and improved ash retention, alongside an upgraded optional bench in seamless, one piece steel. 

The Bay has always had a strong architectural presence, and these refinements build on that character while making the fire easier to enjoy and the stove even cleaner in appearance. 

Fired Up and the life around the stove Updated Charnwood Bay wood burning stove with refined front fence and bench

Dealers were also introduced to the latest edition of Fired Up, our popular company magazine created for showrooms and customers. Edition 3 brings together short interviews exploring fire, connection, creativity and the place we call home. 

It reflects on the fact that a stove is much more than just a product. Sitting within the heart of a home, it shapes how people gather, slow down, experience and enjoy the colder months together. 

Read more about it here. 

Time together on the Island Charnwood Premier Dealer Event 2026 venue on the Isle of Wight

Thursday began in suitably British fashion with fish and chips, ice cream and some traditional British weather! Then guests were welcomed into the studio for an introduction and a tour through our manufacturing and engineering facilities. It was a chance to show dealers not only the finished stoves, but also the people and careful attention to detail behind them. 

From there, dealers moved through smaller sessions covering the new Aire 4 and Aire 400, intelligent combustion technology, marketing and the wider product range for 2026. Hugh also gave an insightful talk on the stove industry, reflecting on the challenges and opportunities ahead, before the day ended with a relaxed evening together at The Royal Hotel in Ventnor. 

On Friday, the group headed out across the Island, visiting Afton Valley Farm, the Garlic Farm, a local farmhouse for an aromatherapy session and Robin Hill Country Park, before coming together again at The Smoke House for lunch and the annual awards. It was a fitting close to two days centred on product and the shared relationships that make the Charnwood dealer network so important. 

Celebrating our Premier Dealers Charnwood team with Premier Dealers at 2026 annual dealer conference, Isle of Wight

A highlight of the event was recognising the commitment and service of our Premier Dealers. Their work is central to the Charnwood experience, from helping customers choose the right stove to ensuring installations are safe and beautifully considered. 

This year’s award winners are as follows: 

Stoake Golden Dog 

Direct Stoves Top Dealer North England 

RW Knight Top Dealer South West England 

Island Stoves Top Dealer South East England 

Ignite Stoves & Fireplaces Top Dealer Midlands 

Bonk & Co Top Dealer Scotland 

The Arcade Top Dealer Wales 

Flamestyle by The Soot Doctor Top Dealer Ireland 

Portadown Fireplaces Top Dealer Northern Ireland 

Opulence Stoves Best Newcomer 

Stoake Most Improved 

Jacqui Morrison Special Award 

Huge congratulations to all our winners, and thank you to every dealer who continues to represent Charnwood with such care and expertise. 

Looking ahead 

There was a strong sense of optimism throughout. Looking ahead to autumn 2026, the feeling is that demand will remain robust as customers increasingly return to stable, sustainable forms of home heating. As gas and oil prices continue to fluctuate, modern wood burning feels more relevant than ever, particularly with the rise of intelligent stoves that offer low emissions, high efficiency and simpler everyday use. With fuel that can be sourced locally and stored at home, wood remains a dependable and resilient choice in an uncertain climate. 

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A real fire does more than warm a room. It changes the way a space feels, how people gather and how the day gently slows, which is the spirit behind Fired Up 3, the latest edition of our Charnwood zine. 

This third issue brings the focus closer to the homes, people and everyday rituals that surround our stoves. Through a series of thoughtful conversations with designers, makers, writers and stove specialists, Fired Up explores the role a stove can play in daily life, not simply as a source of heat, but as a centre point for comfort and connection. 

The issue brings together interviews conducted by Dammy Ponnuthurai, with design and cover artwork by Mark Lazenby. 

You can read the full issue here: 

https://www.charnwood.com/wp-content/uploads/2026/04/Fired-Up-3-Zine-web.pdf 

A stove at the centre of the room

Across the issue, one idea returns again and again, which is that a stove gives a room its centre. Interior designer Leanne Kilroy speaks about fitting a Charnwood Cranmore 7 at home and how it completely changed the way her family used the space. What had once been a room too cold to enjoy in winter became part of daily life again, with chairs turned towards the fire and the whole room naturally revolving around it. 

That feeling will be familiar to many Charnwood owners, whose homes have been transformed by their wood-burning stove becoming their focal point. 

Homes shaped by feeling 

Fired Up 3 also looks closely at the emotional life of interiors, particularly the way thoughtful design can make a home feel calmer, warmer and more personal. Patricia Rodi describes beginning a project not with a look, but with a feeling: calm, grounded, generous, intimate. Her reflections capture something we believe deeply at Charnwood, that good design should serve real life and make a home feel more settled, more useful and more human. 

For Patricia, firelight gives a room structure and calm, softening the edges of the day and bringing continuity to the home. The stove is much more than decoration, it becomes almost architectural, shaping how people sit, pause and spend time together. 

Beauty, comfort and function 

Rachel Ashwell, founder of Shabby Chic, brings another beautiful perspective to the issue, with reflections on restoration, imperfection and the quiet beauty of things that have been lived with. Speaking about her Charnwood stove, Rachel describes the simple ritual of laying kindling, placing logs and letting the fire take command of the room. It is a lovely reminder that the practical and the poetic often meet in the same place, because a stove provides warmth while also bringing beauty, rhythm and a sense of occasion to everyday life. 

Colour, warmth and family life 

Emma Paton’s home brings colour and joy into the conversation, as her interview explores the confidence to use colour, the move from London to Suffolk and the way the countryside has changed her family’s daily rhythm. 

Emma’s Charnwood stoves are part of that life, and she describes the pleasure of lighting a fire at the end of the day or as the weather cools, creating a feeling of warmth, safety and home. For her family, and particularly for their dog Astrid, the stove has become a natural gathering point in an old, characterful house. 

The meaning of the hearth 

One of the most reflective conversations in this issue is with Mike Parrott, who writes about the hearth as the heart of the home and speaks of fire as something that makes warmth visible. He describes the hearth as a place that draws people together, asks them to linger and gives the home a shared focus. His words feel particularly resonant in an age of invisible heating systems and constant distraction, when the simple act of gathering around a visible flame can feel quietly restorative. 

This is not nostalgia for its own sake, but a reminder that homes are shaped by the habits and rituals we build into them. A stove encourages patience, attention and care, while inviting people to gather around something living, luminous and shared. 

Sensory rituals and the natural world 

Charlotte Legge of Duxmore Botanics brings the conversation back to the Isle of Wight landscape, with its chalk downland, sea air, woodland and changing seasons shaping her approach to scent, memory and mindful living. 

As the owner of a Charnwood C-Five, Charlotte speaks about the fire as a central gathering point during the colder months, a place to pause, reconnect as a family and slow down. This fits naturally with Charnwood’s own island story, where thoughtful making, natural materials and respect for the landscape are at the heart of what we do. 

Modern wood burning in the real world 

The issue closes with stove installer Nye Meyers of Stoake, whose work takes him across London from Victorian homes to more unexpected spaces, including a White Cube exhibition featuring six Charnwood Skye 7 stoves. Nye’s interview brings a practical and important perspective, particularly around the misunderstanding that often surrounds modern wood burning when open fires and modern stoves are blurred together. He also reflects on the advances in stove technology, including models such as the Charnwood Skye E700, which make clean, efficient burning easier to live with. 

We hope you enjoy reading it, sharing it and returning to it. 

Read Fired Up 3 here: 

https://www.charnwood.com/wp-content/uploads/2026/04/Fired-Up-3-Zine-web.pdf 

 

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Michael Parrott, who teaches at Benedictine College, writes about the life of the home with a deep thoughtfulness. In conversation, he returns to the hearth not simply as a source of heat, but as something that once gave the room a centre and drew family life around it. His reflections move between childhood memory, modern convenience and cultural loss, but remain grounded in a simple conviction: that visible warmth does more than comfort us. It teaches us how to gather, to linger and to be present with one another.

In your article The Fire Went Out for Crisis Magazine, you describe the hearth as the heart of the home. What role did fire play in your household growing up?

We had a real fireplace growing up, and on cold nights it became the place we naturally gravitated towards. I still remember the crackle, the glow, the smell of woodsmoke, and the way the whole room seemed to change when the fire was lit. I would often lie on the floor by the fire as a boy and read or play.

We had central heating, so the fire was not strictly necessary. In a way, that is what made it so meaningful. It was not just doing a job. It was doing something central heating could never do. It made warmth visible. It gave the room a centre. It made us slow down, sit together and be present to one another.

As a child, I would not have had the language for any of that. I just knew there was something almost magical about a real fire, something alive, human and deeply consoling. Looking back, I think that instinct was right. The hearth did not simply heat the house. It ordered the house. It made home feel more like home.

Modern heating systems have made homes more comfortable, but they have also made warmth invisible. Do you think that has changed the way we relate to one another at home?

Yes, I do. Modern heating is efficient, but it is also strangely sterile. Warm air comes through vents, the thermostat clicks, and the whole thing happens anonymously. We get temperature without presence, comfort without ceremony, warmth without a visible source.

I think our domestic lives have started to resemble our heating systems. Everyone is comfortable, but everyone is also dispersed. We are under the same roof, yet often scattered into separate rooms, separate devices and separate little worlds. The old hearth drew people towards a common centre. It made warmth something shared. Modern systems make comfort ambient, private and almost forgettable.

The hearth did more than warm a room. It created a focal point for family life. It asked people to gather, to linger and to face the same light. So yes, I think invisible warmth has changed the way we relate to one another. We solved the problem of cold beautifully, but we may have lost some of the human meaning that once came with being warmed together.

Much of the debate around wood burning now focuses on emissions and efficiency. What do you think gets missed when the conversation becomes purely technical?

What gets missed is the human person in full. Once the conversation is reduced entirely to emissions, efficiency and quantified risk, only the things that can be measured get treated as real.

Of course prudence matters. Of course safety matters. I am not arguing for recklessness, and I am not pretending there are no trade offs. But there is something deeply impoverished about a worldview that meticulously counts measurable harms while dismissing formative goods as sentimental or irrelevant simply because they do not fit neatly into a spreadsheet.

A hearth teaches things. It teaches patience, because fire cannot be rushed. It teaches responsibility, because it must be tended. It teaches realism, because neglect has consequences. It teaches wonder, because flame still has the power to arrest us and draw us out of ourselves. And it teaches family life, because people gather around what is living, luminous and shared.

None of that shows up very well in a technical analysis, so modern people are tempted to act as though it does not exist. I was not trying to write a quaint defence of nostalgia. I was trying to push back against a technocratic habit of mind that assumes whatever cannot be measured must not matter very much. That is a disastrous way to think about human life.

You suggest that when the hearth disappeared, something cultural disappeared with it. What, to you, has been lost?

What was lost was not just a feature of home design or an older heating technology. What was lost was a whole domestic grammar, a whole little school of human formation built into the daily life of the household.

The hearth taught a family how to live together. Winter pressed people inward. Fire had to be fed. Ashes had to be cleared. Light mattered because darkness was real. Warmth mattered because it was not automatic. Children learned, before anyone ever gave them a lecture, that good things require attention, restraint, patience and care. That is not nothing. That is culture in its most ordinary and powerful form.

I think something religious was lost too, or at least made thinner. So many of our traditions were once anchored in a world where the home had a visible centre. Stockings by the fire, St Nicholas treats left at the hearth, the relief of warmth in the midst of winter, the significance of light in a dark season. These things were not arbitrary decorations. They made sense in a world where the body and the home were still being instructed by the season itself.

When the hearth disappeared, we did not merely remove smoke, risk or inconvenience. We also removed a quiet apprenticeship in gratitude, waiting, attentiveness and wonder. And then we wonder why home feels flatter, family feels thinner, and even Advent and Christmas sometimes feel strangely weightless.

For those who no longer have a fireplace or stove at home, are there ways the principles of the hearth, gathering, attention, patience and hospitality, can still be preserved?

Yes, absolutely, but now it has to be done intentionally. The deeper principle of the hearth was never just flame for its own sake. It was shared attention. It was a visible centre. It was the experience of being drawn together rather than drifting apart.

So even in a hearthless home, families can recover something of that old wisdom by creating real centres of presence: a dinner table where phones are absent and meals are not rushed, candles lit in the evening, regular reading aloud, family prayer at a fixed place and time, hospitality that welcomes others into the warmth of the home, even an outdoor fire pit when that is possible. In many homes, the table can become a kind of hearth if it is treated as more than a place to refuel and scatter.

I would also say we need to stop flattening the seasons. Let winter be winter a little bit. Go out into the cold. Come back into warmth. Let the darkness of Advent be felt so that the light of Christmas means something again. Slow the pace. Lower the lights. Bake bread. Create one room in the home where people naturally gather instead of disappearing into private, climate controlled corners.

In other words, build a centre, even if you do not have a chimney. The form may be different now, but the need has not changed. A home still needs some place, and some set of habits, where people are taught to linger, to attend, to receive one another and to be grateful. That, more than anything, is what I was trying to defend in the article: not merely a fireplace, but a way of life.

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“To everything there is a season, and a time to every purpose under heaven.” — Ecclesiastes 3

For some of us, particularly those who struggle with a lack of light, the arrival of May feels like a moment of return. A quiet re-entry into the world. Blossom appears on branches that only recently felt held in winter, and trees are slowly, then suddenly, given back their leaves. There is something in that shift that feels almost physical. A lifting of weight, rather than simply a change of scene.

Before Julius Caesar formalised the calendar, the Romans marked the beginning of the year in spring. It is not difficult to see why. This is the season that draws us outward again, towards picnics, longer days, and the small celebrations that invite us to stay outside a little longer.

April, in particular, resists definition. A run of bright, warm days can feel like early summer, only to turn without warning. The air cools, the clouds gather, and we are pulled back into something closer to autumn. There is a kind of yo-yoing to it. An uncertainty that sits alongside optimism.

It is tempting to feel gloomy about the inconsistency of April’s weather, but perhaps it offers something else. Not a flaw in the season, but a kind of metaphor. April is not quite predictable, and perhaps that is part of its gift. It keeps us noticing, keeps us slightly on our toes, and asks us to remain open-minded, to let go of the urge to hurry towards certainty.

We tend to organise our lives in clearer terms than this. Work and rest. Activity and pause. Weekday and weekend. The weekend, in particular, has become a container for recovery, a time set aside for a version of happiness that sits apart from responsibility. But in practice it rarely holds. We carry the week with us. Thoughts linger. Moods do not adhere to the calendar.

There is a quiet tension in this structure. An expectation of rest, and the reality of being unable to fully enter it. So the question becomes not how to separate these states, but how to remain steady within them, and remember to keep looking.

For me, there is something in the act of lighting a fire at the end of an uncertain spring day. After hours of warmth and wind, brightness and chill, the ritual offers a return to a familiar friend. The warmth gathers gradually, then lingers. Even when expected, there is something quietly surprising in the way it fills a room, almost like a cloak. It alters the atmosphere before one has quite registered the change.

The fire itself is responsive. It shifts with what it is given, never quite the same from one moment to the next. There is a dance to it, but an undirected one, a quiet movement that keeps drawing the eye back.

Perhaps this is where the season and the fire meet. Both resist control. Both move according to their own rhythm. And both ask us, in different ways, to pay attention rather than impose order.

To sit with a fire is to return to noticing. To watch without needing to resolve anything. In a culture that leans heavily on certainty and outcome, this can feel unfamiliar, but it is not without purpose. There is a kind of intelligence in observation, in allowing things to be as they are, even briefly.

The creative part of us, if it is to remain active, depends on this. Not on fixed conditions, but on a willingness to stay open and remain receptive to what is not yet formed. April, with all its movement, offers a kind of practice in this.

So while we look ahead to longer days and more certain warmth, there may be something to hold onto in this in-between time. Not as a waiting period, but as a time with its own purpose. A space in which to recalibrate, to observe, and to adjust.

Like watching a flame, it asks very little. Only that we stay with it long enough to see.

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Rachel Ashwell’s work has long been shaped by an instinct for restoration and the quiet beauty of things that have been lived with. From childhood days spent trailing her parents through London flea markets to the creation of Shabby Chic, her work has never been simply decorative, but rooted in a way of seeing. Objects are chosen not for perfection but for the feeling they carry, and arranged with a careful balance of comfort, function and restraint. Returning to England after many years in Los Angeles, she has found herself drawn again to the rhythm of the seasons, and to a more grounded sense of home.

A childhood shaped by restored books and antique dolls sounds almost like the beginning of a fairy tale. What has that world of repair, memory and preservation carried into the way you live now?

It was meandering walks, trailing behind my parents when I was around eight years old, through flea markets across London, Camden Passage and Brick Lane, where I learned how to navigate, negotiate, and recognise the value and beauty of timeworn things. With envelopes of cash, my father would search for first edition books, and my mother for worn antique dolls, along with the small details that would bring them back to life, velvet ribbons, pieces of lace and silk.

Without realising it at the time, this was the beginning of my understanding of the beauty of imperfection. Her process of restoration was to embrace the tattered and the torn. She would sew dresses by hand so that the finished piece felt authentic, rather than overly polished.

That remains at the core of my work with Shabby Chic, restoring both beauty and function while honouring the original qualities of a piece, its chips, cracks and frayed edges.

Shabby Chic is often reduced to a decorative shorthand, yet in your work it has always felt closer to a way of seeing and living. What do you think people most misunderstand about it, and what might its quieter lessons offer the home today?

My mantra has always been beauty, comfort and function. My northern star of design has been my heart. When I place furniture and furnishings, I am mindful that each piece has a purpose and contributes to the feeling of home.

Everything needs room to breathe, however big or small the space. There is no shortage of beautiful treasures, but without restraint a room quickly becomes cluttered and noisy. It is in leaving space that what you have chosen can be seen.

You write movingly about returning to England and becoming newly conscious of the seasons. How has that sharpened your sense of domestic space, and in particular your sense of the stove as both a practical and a focal point of home life?

After living in Los Angeles for thirty five years, my creative inner wiring longed for the rhythm of the seasons. A time to go inward, a time to blossom and bloom, and the quieter moments in between.

In Los Angeles, even with a large fireplace, there are few days that call for building a fire. Here, I have come to value the ritual of it. Placing the kindling, the logs and the firelighters, then allowing the fire to take hold, bringing warmth and a quiet focus to the room.

In Meadow Manor: My Majestic English Countryside Home, the house seems inseparable from the landscape around it. How does this English home speak to, or depart from, the life you made for yourself in Los Angeles?

I have always been drawn to views, to wide open spaces and a sense of peaceful living. In Los Angeles I lived mostly near the ocean, which created a feeling of infinity where the sky and the water meet. My time in Texas was another defining moment, where the landscape was shaped by heat and light.

Here in the English countryside, I searched for a home that would offer views of rolling green hills, cows and sheep in the fields, and a scattering of rooftops from neighbouring cottages. The view now feels almost like something from a storybook.

Has any work of art ever come close to capturing for you the true feeling of home?

Art certainly inspires and, at times, reflects life. I have often been drawn more to florals and landscapes than to interiors. The presence of art brings an important layer to a home, adding depth and a sense of completion. A traditional stove like the Cranmore 3 suits the shabby-chic interiors Rachel is known for, blending into rather than fighting the room.

Follow Rachel on Instagram @rachelashwell and @officialshabbychicMeadow Manor: My Majestic English Countryside Home by Rachel Ashwell is published by CICO Books’

You can watch our interview with Rachel on YouTube below.

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Nye installs wood burning stoves across London through his work with Stoake, moving between Victorian terraced houses, community spaces and, at times, more unexpected settings such as galleries. His relationship with fire goes back further. After moving to Australia as a child, he grew up in a culture where fire was part of everyday life, through barbecues, gathering and outdoor cooking, but also something that demanded care. That early awareness carries through into his work today. He speaks not only about the practicalities of installation, but about the enduring place of fire in the home, the appeal of wood burning stoves as a carbon neutral heat source, and the advances in stove technology that have made them strikingly simple to use.

Do you have any childhood memories of being around a stove or fire?

I always loved fire growing up. My parents came over from India in the 1970s, and we did not have a fire in the house. But when I was a little older, we moved to Australia, where barbecues were a big part of life, so there was always a fire going, with people gathered around it and all that came with it. In Australia there is also a strong awareness of fire in another sense, and of the need to treat it with care.

After school, I started work as a gas fitter and, through working with other renewable technologies, found my way to boiler stoves and then wood burners.

Day to day, what do you find most interesting about the different places and projects you install stoves for? 

One of the great things about working in London is meeting so many environmentally conscious people, particularly because everyone lives so closely together. People want to use the right stoves and make sure they are properly maintained. The work takes us into all sorts of homes and buildings, most often Victorian terraced houses, and every project has its own character. You might be working in a family sitting room one day, then in a completely different kind of space, such as a community farm, the next.

Your work has also taken you into unexpected places, including installing stoves for exhibitions at White Cube. What was it like bringing the element of fire into a contemporary gallery setting?

We installed six stoves for the artist Danh Vo at White Cube in Bermondsey. They were six Skye 7s, all connected to a single terminal and flued together, which is not something you would normally do in a domestic setting. Because it was a temporary exhibition in an industrial space, Building Regulations did not apply in the same way they usually would. Seeing all six running together in a white gallery space was quite something. It was a very different context for a stove, and a fascinating project to be part of.

Sitting beside a fire is such an ancient human act. Why do you think there is so much misunderstanding today about the ecological role of the modern wood burning stove?

It is such an ancient human act. A fire makes a house feel alive as well as warm, and those of us who work with stoves do not much like being in a house in winter without one. A lot of the misunderstanding comes from the way the issue has been represented in the media. There has been a tendency to blur the distinction between an open fire and a modern stove, and to simplify emissions reporting in a way that has confused people.

A modern stove, used properly, has very low emissions compared with many other sources of emissions. In reality, the picture is more nuanced. We began installing wood burning stoves because they are a carbon neutral heat source, and we have been particularly grateful for advances in technology, especially in stoves such as

the Charnwood Skye 700. Customers are genuinely interested not only in how well these stoves burn, but in how easy they are to live with. With a stove like the Skye 700, you still engage with the fire, but in a very simple way. You light it, close the door and let the stove do its job.

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Energy markets are once again under serious pressure with oil prices having climbed back well above $100 a barrel, with some forecasts suggesting they could rise significantly further if global instability continues. We have been in similar situations before as history has a habit of repeating itself. In the 1970s oil crisis, sharp price rises forced households to rethink how they heated their homes. It was at that moment Charnwood began, inspired to provide reliable, efficient heat using a fuel that was locally available.  

When energy becomes uncertain, behaviour changes 

When prices rise quickly, people do not have time to wait, they have to adapt. Heating is not something that can be delayed when the cold weather arrives, because warmth is simply a non-negotiable. Understandably, households look for options that give them some control, independence and a bit more certainty. Wood has always played that role, because it is local, renewable, can be easily stored, and it is not directly exposed to global energy markets in the same way as gas or oil. 

But how wood is burned is what really matters… 

The real risk is not wood, but outdated technology 

If households are pushed towards wood during periods of energy crisis, the environmental outcome depends on the appliances they use. Open fires and older stoves produce far higher emissions than modern systems, and that is where the real risk lies. 

The alternative already exists, as modern Ecodesign stoves are significantly more efficient and far cleaner than previous generations. They are designed to burn fuel more completely, reducing emissions while delivering more usable heat into the room. 

And importantly, the data shows this transition is already having an effect. Recent UK emissions reporting shows that although wood use has increased, emissions from small scale combustion have declined since around 2018. This coincides with the introduction of Ecodesign regulations and improvements in fuel quality. This is great news and in simple terms, means that modern stoves are working to reduce emissions! 

A resilient part of a balanced energy system 

There is no single perfect solution to home heating, and the right approach depends on the building, the location and the budget. One aspect that doesn’t change is the value of having diversity. 

Modern wood burning provides something that is increasingly important in today’s energy system, which is resilience. 

•It allows households to heat the room they are in, independent of the grid 

•It provides a reliable backup during power cuts or supply disruptions 

•It complements renewable energy by filling gaps in supply when energy generation is low 

As more of our energy system shifts towards intermittent sources such as wind and solar, having dependable, controllable forms of heat becomes even more important, not less. 

Lessons from the past 

The oil crisis of the 1970s exposed how quickly global events can affect everyday life. At the same time, the UK saw an abundance of timber following Dutch elm disease, creating a practical opportunity to use wood as a fuel. In the UK, land area covered by woodland has increased from 9.0% in 1980 to 13.3% in 2022 with an increase in sustainable forest management techniques. 

Global instability, whether geopolitical or economic, continues to shape energy markets and price volatility is no longer unusual. It is something we are all having to learn to live with and in that context, having a range of heating options is simply sensible. 

Looking forward 

Wood burning stove providing warmth in a family home

Stoves have already improved significantly over the past decades, and innovation continues. Advances in combustion design and intelligent control systems are helping to reduce emissions further while improving ease of use for consumers and actually reducing fuel costs. Early users of our Aire intelligent modern wood burning stoves are already reporting fuel savings of up to 50 percent, crystal-clear glass and barely any ash. Operation is now so simple, just load it, light it, leave it, and the stove does the rest.   

Click here for the full brochure.  

A practical, balanced approach 

If the goal is cleaner air and a more resilient energy system, the path forward is straightforward: 

•continue replacing older appliances and open fires with modern Ecodesign stoves 

•promote the use of dry, ready to burn certified fuel 

•support good burning practices 

•maintain a balanced mix of energy sources 

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Energy systems work best when they are balanced, flexible and able to cope with uncertainty. Modern wood burning is one part of that balance, providing dependable heat, supporting the wider energy system and continuing to improve as technology advances. 

At a time when the world feels less stable and more unpredictable than ever, maintaining that resilience is not just sensible, it feels ever more necessary. 

charnwoodstoves

“To everything there is a season, and a time for every purpose under heaven.” Ecclesiastes 3:1

This year spring has come a little earlier. And while it is lovely to see the tiny flowers and the soft hues of pink and white appearing again, this year I can’t help but feel a little sad to say goodbye to winter. For the first time in as long as I can remember, this winter I have really noticed, and come to love, the magnificence of the trees left without leaves.

There is a staggering beauty to their branches. In their bareness you begin to notice their architecture, the quiet strength of their structure, and a sense of how trees move and lean without leaves. It feels as though nature, symbolised by these bare trees, gives us permission to be introspective. This season seems important in the piecing together of thought and life, which in the warmer months somehow feels less possible, when we are drawn outside by the sun and away from the quieter acts of winter reflection.

This kind of introspection feels important not only for the artist labouring in solitude, but for anyone. It is simply a time for reflection. It is also a time of not knowing, a pause in activity, which perhaps forms the foundation for the warmer months ahead. Soon the light of sunshine will draw us outside with plans for picnics and barbecues, when our days are no longer impeded by the cold and darkness of winter, and we open up to the world like flowers.

Without these moments of reflection, life can feel half-lived. There is always the long list of actions that fill our days: work, responsibilities, the care of others. The months roll by on a kind of autopilot, and we rarely pause to consider what we truly believe in, or what we really feel about the life we are living.

Lately, when I walk on my own, I have begun to refrain from listening to music or podcasts. Instead, I simply listen to the sounds around me. One sunny but still chilly morning I passed a mother with two young children, both dressed in bright rainbow colours, asking if they could sit on the damp, muddy grass. Their excitement at this small request struck me as deeply beautiful. It reminded me of what I often miss: the simple joy of being alive, and the ease with which children connect to the natural world around them.

This vitality of connecting to the earth is something adults rarely notice. Practical concerns, like clothes getting muddy, seem to stand in the way. Yet we often say that we want our children’s childhoods to include exactly this kind of grounded experience of the world.

Perhaps in quieter ways we carry that instinct with us into adulthood. We feel it in our relationship with trees, whether through the shade they offer in summer or the warmth they give us in winter.

Lighting a fire is not simply an act of comfort. It can also be an act of consideration. The purchase of timber reminds us to think about where it comes from, and about the sustainable management of woodland. The ancient practice of coppicing sustains us through the colder months while also allowing woodland ecosystems to regenerate and thrive.

These small recognitions bring a certain thoughtfulness to the simple act of lighting a stove. They allow us to consider the small acts we might take, even during quiet moments of winter introspection, to plant the seeds of a healthier planet. In a world where time often sweeps us along, these moments of attention to the smallest details hold immeasurable value.

And in this way the stove becomes more than a source of warmth. It becomes a quiet companion, carrying us from winter reflection into the brighter days ahead.

charnwoodstoves

From 25–28 February we were in Verona for Progetto Fuoco, the world’s leading trade show for biomass heating, exhibiting alongside our Italian partners Zetalinea. 

The stand was busy from the moment the doors opened and over four packed days we welcomed Charnwood customers and partners from Australia, Belgium, Poland, Spain, the UK, the US, Canada and South Africa. It was a nice reminder that British stove design continues to resonate globally. 

Intelligent stoves leading the conversation 

The real buzz at the show centred around two of our intelligent models: 

•Skye E700 

•Aire 700 underfire 

Among hundreds of appliances on display, these stood out in part due to our I-Blu combustion technology– a micro-processor that reads the fire in real time and constantly fine tunes the airflow for a perfect burn.  

The ability to monitor combustion and adjust airflow in real time continues to draw strong interest across Europe. Visitors were particularly keen to understand how intelligent control can deliver test lab performance in real homes, improving efficiency, consistency of burn and lowering fuel costs. 

A sneak preview  

Progetto Fuoco also gave us the chance to unveil a preview of the updated Bay BX. The latest refinements include a simplified front fence and ash retainer along with a new one piece bench. The response was very positive, with visitors appreciating the clean lines, practical detailing and understated design that continue to define the Bay range. 

A full British line up  

Alongside our intelligent models, we displayed a broad selection from the Charnwood collection: 

•Cranmore 7 in bronze 

•Island II 

•Haven 

•Aire 3 presented in a stove pod 

We also showcased our Charnwood Fireside heat shields and hearth plates, demonstrating how the right accessories can enhance your fireplace, making it safer and even more inviting. 

Both the Skye E700 and the Haven qualify as 5 star Conto Termico appliances in Italy, enabling buyers to claim up to 65% of eligible costs through the national incentive scheme. The strong environmental performance of our stoves continues to open doors across European markets. 

Conversations that matter 

Across the four days we discussed air quality regulation, intelligent combustion, installation and best practices. There is clearly a big appetite internationally for stoves that combine strong design with excellent emissions performance and real world usability. Encouragingly, the focus continues to shift towards replacing older appliances and burning dry fuel correctly. 

To top it off, between demonstrations and technical conversations, we were also proud to offer visitors a very British welcome, with a Mermaid gin and tonic! 

Looking ahead 

Progetto Fuoco remains one of the benchmark global events for our sector. This year confirmed that intelligent technology and responsible burning are shaping the future of wood heating. 

Thank you to everyone who visited us in Verona. If you were unable to attend and would like more information about any of the models displayed, please get in touch or speak to your local Charnwood retailer.