New Developments at The Ropewalk

By admin |

Printmakers at Barton upon Humber’s Contemporary Art & Craft will soon be using enhanced facilities at the Maltkiln Road venue thanks to a £15,000 Arts Council England grant.

Printmaking sessions at The Ropewalk have been suspended until mid-September to allow the work to take place.

Richard Hatfield of The Ropewalk explained that the current printmaking studio was part of the first phase in the restoration of the building which opened in 2000.

“Initially we obtained funding to restore the southern end of the Hall’s Barton Ropery ropewalk which had been derelict for 10 years,” he said.

“But as time has gone on, particularly since the rest of the building was opened in 2006, it has become apparent that the studio’s original location was not ideal.”

Now the Arts Council grant means that the studio will be located within the corridor housing the artists’ studios in the middle of the quarter-mile long building.

The relocation of the print studio will also have a knock-on effect for some other facilities in the building.

One of the few remaining picture framing facilities in the area will take over the space left by the print studio while in turn the Craft Gallery will expand into the area vacated by the picture framing unit.

Local craftsman Dave Ayres of Deepdale Studios will be further enhancing the entrances to the galleries by making and installing three new ash framed doors to match the external doors he made for The Ropewalk four years ago.

“Until now we have been able to increase the number of artists whose work we display and sell just because we didn’t have the space.  But the Arts Council grant means that we can soon rectify that,” said Richard.

And a spin-off of the relocation of the various facilities means that there is now the opportunity to enlarge the kitchen serving the coffee shop at the same time.

“We appreciate that our visitors may experience some disruption for a short space of time but we hope they bear with us as we try to make our facilities even more user-friendly,” added Richard.

The first opportunity members of the public will have to view the print studio and the other alterations will be during the Insight 2010 Open Studios weekends on September 18 and 19 and September 23 and 24.

Latest News

VIEW ALL NEWS

I ka Piko

I ka Piko: The center or source, connections and balance.

“I ka Piko not only describes our cultural relationships but also the islands we come from, growing up from the middle of the vast oceanic floor of the Pacific.

In “I ka Piko” nine Hawai’I print artists explore through their work what it means to a Kama’aina (child of this land) to be from this unique place.”

Featuring

Gina Bacon Kerr,

Marissa Eshima

Kathy Merrill Kelley,

Barbara Okamoto

Mary Philpotts McGrath

Doug Po’oloa Tolentino

David B. Smith

Nancy Vilhauer

George Woollard

 

 

 

 

By richardhatfield |

Pru Green

A new selection of ceramics just arrived

By richardhatfield |

John D Petty – Mud and Spit

Five Drawings of Holderness Churches

That these small Holderness villages should have churches of such antiquity has long fascinated me. It is a solid reflection of the prosperity of the area when farming the land was everything. Nineteenth century census records show that in some villages more than half of the male population aged twenty and over were employed as agricultural labourers. My own great grandmother was a domestic servant at a South Holderness farm.

In speaking of sacred places in general, a friend who was closely involved in the development of the drawings said “The reason I love them is the emotional intensity and meaning that people invest in these spaces. It’s to do with mortality and the realisation of what matters to humanity…death, birth, praying for the healing or protection of loved ones, what I think of as the mud and spit of life. Personal stories are engrained in the stones, land, architecture of such spaces, they are dense with them and I feel a very strong connection to that because it’s meaningful stuff.”

These drawings are an attempt to symbolise some of those stories that are held within the stones, the bricks and the cobbles of these buildings. The drawing process involves repeatedly making and disrupting the drawing; the drawing is done with graphite and the disruption is done with gesso and by scouring and scratching the surface with sharp tools. In places new paper is sometimes collaged on; this may be to repair an area where I wish to start again or it may serve no purpose other than to develop the textural qualities of the drawing.

As the work progressed I came to see the contrast between the more carefully rendered elements and the loose and random textures of other areas as an oblique reference to the buildings’ decay, their rebuilding and restoration, their survival over centuries of change and struggle, the mud and spit, indeed, of daily life.

The obscured and hidden layers of the drawings reflect the layers of history and the stories that the buildings have seen. It is right that some of the drawing is obscured and lost as are the lives and stories of the people that once invested so much in these places.

By richardhatfield |

James and Tilla Waters

James and Tilla met each other during their apprenticeships to the potter Rupert Spira in Shropshire in  the late nineties. In 2002 they set up their workshop in Carmarthenshire where they live with their three daughters.

They both have degrees in Painting (James from The Slade and Tilla from Bath) and value that background for the greater understanding of form, colour and materials it has given them in making pots.

They believe passionately in the importance of functionality; simply being hand-made is not enough but when an object is well made and a joy to use it can become a cherished possession and make an enriching contribution to daily life.

Their working roles are many and complex but in summary, James makes and Tilla designs.

They won the Wesley-Barrell Craft Awards (Vessels for Interiors) in 2011 and The Homes and Gardens Design Awards (Ceramics and Glass) in 2013.

 

By richardhatfield |

Madeline & Martin Pick

Now & Then: Spurn Point – A Special Place

Spurn Point, to the east of Hull has inspired a body of work by husband and wife team Madeline and Martin Pick who have worked on the project over the past few years exploring the evocative mystery of Spurn and witnessing dramatic changes at the sand spit as time and tide continue to erode and reshape its landscape.

Madeline working primarily with paint and mixed media on canvas has approached the subject by working and building layers of texture and meaning into her pieces.  “You respond at many levels to Spurn.  It arouses emotions as you consider the lives lived and the events witnessed and it stimulates memories as you enter the time capsules represented by the prefab buildings and consider the paths of your own life”.

Photographer  Martin sees Spurn Point as a unique and fascinating landscape.  “We are both impressed by its remote beauty and ability to stir memories, bringing them to the surface.  We have tried to represent and record our response to place and the interaction of successive generations of people with it.  Above all the ‘big sky’ dominates and is a feature of my photographic interpretation”.

By richardhatfield |

Spring Selection

A seasonal selection of Ropewalk regulars featuring ceramics by Ken Eardley, Sue Dunne, Lyn Lovitt, Elizabeth Maynard, Mary Johnson, David Hilton with the addition of sculpture by Janine Knight and Chris Moss.

By richardhatfield |