The Ropewalk Museum gains Accreditation

By admin |

The Museum at The Ropewalk in Barton upon Humber has just gained officially “Accreditated” by the Museums, Libraries and Archives Council.

The Museum at the Maltkiln Road venue pays tribute to the history of the ropemaking factory, Hall’s Barton Ropery, which opened in 1767 and its workers.

Housed in the Grade II listed building which stretches a quarter of a mile along the length of Barton Haven, the Museum Corridor houses displays, artefacts and other memorabilia telling the history of the factory and its workforce.

“Some of the artefacts were rescued when Hall’s Barton Ropery closed for the final time in 1989 while others were donated by former employees and their families at the time of a Heritage Lottery Fund project which chronicled the history of the factory and its workers through more than 200 years of its history in two books, Unravelling Barton Ropery and Family Ties,” said The Ropewalk’s Managing Director, Liz Bennet.

“Everyone connected with The Ropewalk is delighted that our museum has been able to meet the nationally agreed standards set by the MLA’s Museum Accreditation Scheme,” she continued.

“Much hard work was undertaken prior to our submission and thanks to the support and help of our Curatorial Advisor, Madi Grout, the area’s Museum Development Officer, Jaane Rowehl and the MLA’s Regional Accreditation Officer Robin McDermott we now meet the MLA’s criteria for running a museum and looking after both our collection and our visitors.”

“Now that we have been awarded Accreditation we have been spurred on to develop an archive and research area next year if we are successful with a Heritage Lottery Fund bid,” Liz added.

And Andrew Motion, Chair of the MLA said:  “Being awarded Accreditation is an impressive achievement.  It recognises the high standard and service that The Ropewalk Museum provides and acknowledges the hard work of its staff.”

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Sidelong: A series of photographic studies of the people and landscapes seen ‘in passing’ on the train journey from Barton and while exploring the popular Wakes Week destination town of Cleethorpes.

this is the world seen from the edge of our vision, the sidelong glance, a world absorbed almost sub-consciously in passing, capturing aspects of urban and rural landscapes as the viewer moves through them

“As a photographer I have tried many times to capture this experience but all too often I capture only the place, not the journey, not the travelling. The processive images I am working on now are the closest I have come yet. The motion of the camera facing sideways produces repetitive, fragmented and distorted pictures that convey a dynamic sense of movement: a series of moments compressed and dragged into a single still image: the vague and fragmented memory of a journey, repetitive yet barely observed. A smear of sensation.

Experiencing the journey from Barton and the discovery of Cleethorpes as a destination has allowed me to develop the processive technique and the photographic ‘sidelong glance’ in a relevant direction, following the Wakes Week holidaymakers. Sadly the pandemic has prevented me from completely fulfilling the idea but this exhibition has provided the chance to show my early images taken during winter 2019 /2020.”

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Alan Abbey’s connection to the landscape is deep and long-standing, often going back to places he visited as a child. This amalgamation of the real and remembered can be quite an overwhelming experience linking to what Alan calls the ‘spirit of the land’; A wide-ranging mix of emotions can be revealed – from longing and loss to joy and fulfilment.

“As you move through the landscape you become part of it even if only for a short time, so trying to capture even a part of its essence can bring you back to the places you love.”

 

Nancy Power originally trained in Fashion and Knitwear Design and her passage into printmaking combined her enjoyment of design and technical precision with her for love for nature and landscape.

“My practice is creating reduction linocut prints. I’m excited by the ‘absolute’ decision-making that this process requires. Many of my images are printed from dark to light, as I am intrigued as to how the colours perform quite differently and give some unexpected and surprising results”.

 

The natural landscape surrounding her Sheffield home near to the Peak District often features in Katherine Rhodes’ painterly linocut prints. Inspired by human endeavour, adventure and being in the outdoors, Katherine’s images hold stories of the relationships, activities, and interactions we have with the outdoor landscape. She has regular contact with climbers and has learnt through them of the intense relationship and the knowledge they acquire when they climb or explore the landscape.  To this end “The shapes of the rocks and landscape in  prints are shown accurately – features that are crucial to the climber, mountaineer, and walker connecting them intimately with the land, using them to navigate their way up a rockface or through rugged terrain.”

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Mary Sleigh’s connection to the land comes from her fascination in foraging, gathering, and sorting, often giving her starting points for new work. Finding connections with places and people as a theme, continues in her exploration of the area around Barton on Humber.

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Jan Miller collected shards of tiles bricks, sticks and stones, wood slivers, which along with her notes, photographs form the basis of her work. The single most striking image of the Humber Estuary for Jan is the glorious chocolate-brown silky mud exposed by tidal ebb and flow. Mud, silt, puddle-water, clay, earth, rock pigments have since become her new favourite mark-makers.

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