Book Swap at the Coffee Shop

By admin |

Two charities – one worldwide and one local – are to benefit from bookworms who patronise the Ropery Coffee Shop in Barton upon Humber.

For the last couple of weeks patrons of the coffee shop have been able to donate, swap or simply buy books at a dedicated bookshelf.

The Ropewalk’s managing director Liz Bennet explained that the initial suggestion for a “book swap” shelf had come from a customer.

“I immediately thought of all the books I have collected at home that have been read once and then put aside and I knew among our staff that there were others who would welcome the opportunity to de-clutter their own book shelves,” she said.

So the book shelves were set up next to the Heritage Corridor and within days were proving to be a hit.

“It really is simple – either donate old books, swap them for something you’d love to read or just simply buy,” Liz went on.

“The idea is to recycle all those novels that you’ve read over the years but would probably not want to read again and give someone else the chance to enjoy them.”

There is a suggested donation of £1 and all the money raised will be divided between Water Aid and the local children’s charity, ST-ART.

“We started supporting Water Aid, which enables the world’s poorest people to gain access to safe water, sanitation and improved hygiene, in 2007 by taking part in its Knit A River campaign and have been raising money throughout this year to finance the construction of a school sanitation block,” she said.

“And at The Ropewalk we continue to support ST-ART, the creative charity which facilitates young people’s creative activities throughout North Lincolnshire during the school holidays,” Liz continued.

Furthermore, in a response to a second customer suggestion the Coffee Shop now offers a free Wi-Fi connection so customers can enjoy a quality coffee or tea along with a freshly made cake while checking your laptop for important emails.

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The annual Ropewalk Studio Artists Exhibition features work from

David Alcock
Sally Beaumont
Emily Connor
Deborah Grice
Gill Hobson
Richard Hatfield
Judith Land
Tim Needham
Michael Scrimshaw
Reginald Swinney
Shirley Trumble
Keith Woodcock
85 Fathoms

By richardhatfield |

Fair Ground Fables – Michelle Forrest-Beckett

Michelle recalls a frightfully fascinating childhood memory of a former sideshow attraction in Whitby. Her recollection of witnessing a pickled dicephalic baby and the staked bones of Dracula began the blurring of the boundaries between reality and fantasy.

‘Fairground Fables’ was conjured to question the satirical and moral ambiguity of fringe entertainment presented behind the curtains of Vaudeville theatres and Victorian Side Shows. Michelle draws from idioms and fables that play with tales of tragedy and fortune as well as the traces of life that befall the discarded or well loved, by enlivening everyday objects with an air of uncertainty.  She assembles things left behind on dusty shelves, creating magnetic forms that encourage the viewer to take an encounter with the apprehension of things.  ‘Fairground Fables’ is bent with a nostalgic and melodramatic allure that bestows something provocative and enchanting.

 

On November 24 Michelle will be running a workshop teaching participants how to make their own Fairground Fable. Bookings can be made in the Craft Gallery.

By richardhatfield |

Richard Hatfield – Tim Needham

Richard Hatfield & Tim Needhams’ interest in painting stretches back through careers that began just one year apart. Working independently, both find common ground in their references to landscape, yet it is their divergent approaches which spark the dialogue in this show.

I paint out of doors and in the studio. Landscape embodies form, colour and light. Painting can reflect these primal elements and leave us with an object akin to poetry. I play with the picture plane and use paint on various surfaces, abstracted to convey feelings and form with a sense of the drama of the place.
Tim Needham

The subjects are the amalgamation of the remembered, the fleetingly observed and the repeated, emblematic motifs left, like an afterimage imprinted on the retina. I look for a sense of the unfamiliar in the ordinary – a gentle disquiet. Some pieces recall a particular moment or episode, often dramatic and transient such as the effects of light or weather, frequently in the extreme. It is at these times that nature can reassert itself into our consciousness and provide us with a taste of something that is awesome in the true sense of the word. Other paintings are less dramatic and conjure up emotions and associations of particular memories and universal fears from early childhood.
Richard Hatfield

By richardhatfield |

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Max Marschner was born in London in 1929. His early life was interrupted by World War II and evacuation, but in 1943 he enrolled in the Junior Department of Camberwell School of Art. He stayed there until the early 1950s with breaks for National Service and matriculation. He excelled in the design department. These were the wood engraving years.

Throughout his life Max delighted in the unexpected; scenes and buildings which had a tale to tell, or that presented a mood or sharpness which suited his work.

By the beginning of the 1960s he was experimenting with linocuts, monoprints and basic etchings, often using ideas from old postcards and encyclopaedias, which he hoped would depict a sense of surprise and strangeness.

A move to Lincoln at the beginning of the 1970s brought changes. Screenprints was possible: The same ideas, but larger and more colourful prints.

In 1973 Max bought his first ‘real’ camera, a Pentax Spotmatic. This he used for the rest of his life. He enjoyed experimenting with the old ways of photography, developing and printing in his darkroom. Eventually he taught himself Photo Etching. This involved infrared film, large negatives and acids, though changing over the years to safer methods of working.

By richardhatfield |

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Ron Wilson and Jan Stead hail from the West Riding of Yorkshire. They met whilst studying art and design and teacher training at Bretton Hall over 40 years ago, they have kept in touch – sharing a passion for Yorkshire, art and design and in particular, printmaking.

ALMANAC

An Almanac can be described in general terms as an annual calander which contains a wealth of information such as important days, times of the sun rising and setting and changes in the moon and tides. In the past the Almanac was particularly important to farmers but perhaps their relevance is somewhat diminished. Ron and Jan have each produced a visual Almanac based on the four seasons and the wheel of the year where they have attempted, in their printed pieces, to re-establish the natural connections of the rolling seasons.

Ron: My Almanac wraps localities and phenomena in folklore and myth, elements within the work are symbolic and at times esoteric. The images in the Almanac are lifted from Anglo Saxon and Medieval almanacs and bending them to a response that will resonate with contemporary audiences. I invite the viewer to create their own narrative.

Jan: My Almanac is in Astronomical Seasons where the equinox and solstices mark the beginning and end of each season. It does, therefore, span two calendar years. Spring, Summer, Autumn and the first month of Winter – December are set in 2018. The remainder of winter – January and February, are in 2019. I am concerned with the equinox, solstice and moon shapes on key dates in each month. The images are a mix of Pagan, Christian and general traditions.

Ron Wilson and Jan Stead October 2018

By richardhatfield |

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By amyh |