Insight Open Studios 2010

By admin |

The first weekend of Northern Lincolnshire Artists’ Insight Open Studios 2010 got off to a flying start with record numbers passing through studios throughout North and North East Lincolnshire.

Project manager Pete Mitchell of The Ropewalk in Barton upon Humber said that the opening weekend of the event, now in its 10th year, had proved to be very busy.

“Here at The Ropewalk I think we must have welcomed around 500 visitors over the first two days while at Grimsby both the two outlets in Freshney Place and the Abbey Walk Gallery were really busy too,” he continued.

One artist showing for the first time at The Ropewalk was printmaker Angela Lindsley who in previous years has exhibited as part of the gallery’s Printmakers Group.

“It was absolutely brilliant,” she said.  “I sold five pieces on the first day and an extra date has had to be added to the two already advertised workshops, “ Introduction to Collagraph Prints, I am running in the next couple of months are they are now nearly all booked up.”

“It was an absolutely fantastic weekend and I can’t believe the response and I am so happy I decided to take part as a stand-alone artist,” she continued.

Insight Open Studios continues for the second and final weekend on Saturday and Sunday (September 25 and 26) with studios and galleries from Cleethorpes and Grimsby in the east to Epworth and the surrounding area to the west open to the public.

As well as being able to watch artists at work there is also the opportunity to view, purchase or commission original pieces of art.

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Rebecca Harvey

On display in the Box Gallery until 6th March is a selection of Rebecca’s porcelain domestic ware and her new Cornish ware range, perfect for any kitchen.

Rebecca’s ceramics are made from porcelain where form and function come together with subtle traces of the hand that are left when the porcelain is soft, creating an intimate engagement with the objects through use.
Her use of a warm, soft satin glaze envelops the calm but strong forms in a smooth, rich, tactile surface.
A dedicated teacher, she is also known for her publications on glazes and ceramic tableware. Her work can be found in both public and private collections.

By richardhatfield |

3 Strand

Patricia McMillan, Moira West and Linda Westerman use the theme of Barton’s industrial heritage to celebrate human ingenuity, vision and strength. These attributes are explored using a wide variety of materials, in a modern and unique expression of industrial life. Combinations include natural and man-made materials – fabric, fibre, metal, plastic, rope, silk and wire.

The artists have a love of textiles and fibre because of its rich form and heritage, which speaks so much of history. It is imbued with stories of its origins, its makers, its geographic roots and culture – all of those details “woven” into life’s lush tapestry. Working with fibres offers a rich palette of stories, known and unknown. Enjoy exploring the artists’ interpretations of Barton’s industrialisation.

By richardhatfield |

Record breaking year for The Ropewalk confirmed

Final figures for visitor numbers to the Barton upon Humber arts centre, The Ropewalk, see a rise of just over 36 per cent over the previous year’s record breaking numbers.

By December 31 last year a total of 106,861 visitors had passed through The Ropewalk’s doors compared to 78,412 in 2013. (more…)

By janetuplin |

Record breaking year for The Ropewalk

2014 looks like ending as a record-breaking one for The Ropewalk in Barton upon Humber.

Visitor figures up to and including November are the highest recorded since the Maltkiln Road arts centre opened nearly 15 years ago and with December’s figures yet to be logged it looks as if more than 100,000 people will have visited the venue during the past 12 months. (more…)

By janetuplin |

Collection: Rick Henham

Five years since Rick originally showed his work at The Ropewalk with Gaolyard Studio Potters, St Ives, we are lucky enough to have a selection of his work displayed in the Box Gallery throughout January 2015.

Rick originally trained at the University of Westminster and lived in London for many years before relocating to Cornwall. His Cornish surroundings have influenced this current range.

“Plain forms worked to a completely smooth finish help create the effect I’m after in this range of work. Comprised mainly of black and white bowls and vases with a simple motif cut into the glaze….weather worn pebbles, surf on the shore and the meandering horizon line are an influence.”

By richardhatfield |

Nigel Tooby – Of our times – The Price of Money

Nigel Tooby’s interest in Photography began in the 1970s inspired by music album cover art and in particular the work of Aubrey Powell and the late, great, Storm Thorgerson. Although the years that passed saw him absorbed into the world of business he still found time to record events around him in an uncompromising documentary style.

Tooby creates artwork using images as a medium, to encourage debate through purposefully choosing controversial and sometimes difficult/uncomfortable subject matters to share a message. He shuns the single visual for a network of linked pieces in which the connections between pictures – as well as what is left out – contain information which then springs from an apparent void to provide messages which transcend the ability of any single image to communicate. The use of found materials and installations, as in his recent acclaimed exhibition “Eye Spy”, (In aid of a Homeless Charity) adds a fourth dimension and enhances surface to further expand his visual vocabulary.

As a consequence, he produces work which is current, inspiring, original, and, photographically speaking, quite different to the norm. His work is direct, occasionally brutal, creative of opinion and sometimes shocking, but it leaves little doubt as to where his own opinions lie. Thought provoking; his work invites the viewer to accept, reject or else debate that opinion.

The Price of Money was originally conceived as an art book and because it is based, in part, on his own experience of business it inevitably contains veins of autobiography. His assertion that rampant greed sowed the seeds of the 2008 credit crunch is clear from the work, but the effects of the greed-associated business paradigm reaches far deeper levels, perverting politics as well as the lives, relationships and health of those involved to varying degrees. He implies that enterprise doesn’t have to be conducted that way – that commercial activities can be carried out ethically and can, as a result, provide a more stable and productive business.

By richardhatfield |