What better way of banishing any lingering thoughts of the Christmas Pudding than by enjoying a night at Cook’s at The Ropewalk Pudding Club.
Following three sell-out evenings in Barton upon Humber since it was launched last year, the Pudding Club returns on January 21 with some more tempting puds.
Liz Bennet of The Ropewalk is delighted how this new venture between the Maltkiln Road venue and Cooks Catering of New Holland has been received by the public.
“Tickets for every Pudding Club evening have sold out well before the night and we have even had to have a reserve list for those who left it too late,” she said.
“And it looks as if the 2012 evenings are going to be as successful. There are only a handful of tickets left for the January one and already we are having enquiries for the one on March 16,” Liz went on.
As always the 2012 Pudding Clubs will follow the same format – a choice of a light first course which in January is Lentil and Cumin Caked with Minty Raita, Salmon Pattie with Tartar Sauce and Salad Leaves or Cajun Spiced Chicken with Herb Cous-Cous.
The January puddings reflect the winter months with warming steamed Dark Chocolate Pudding with Egg Custard Sauce and Apple Charlotte and Nutmeg Cream on offer as well as
Cardamom and Rose Ice-cream and Orange and Vanilla Panna Cotta with Sugar Biscuits.
Fiona Sciolti Chocolates with coffee or tea bring the evening to a close.
In March the first course will be Twice Baked Cheese Soufflé with Spinach and Nutmeg,
Pate of Smoked Trout with Melba Toast and Salad Leaves or Farmhouse Terrine of Pork, Bacon and Liver with Homemade Chutney followed by White Chocolate and Whisky Bread and Butter Pudding with Egg Custard Sauce, St Emilion Chocolate and Macaroon Mousse,
Warm Banana Tarte Tatin Vanilla Pod Ice-cream and Crème Caramel and Fresh Fruits
“The cost of £20 per person remains the same as last year and I’m sure that anyone who has been before will testify that it is value for money – fantastic puddings served in a brilliant atmosphere,” Liz continued.
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
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.
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
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.
ALMANAC – the seasons they rolled in and they tumbled
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
The Box Gallery is housing everything you need to go back to school, college, university and work. From textiles kits to lino kits, book binding kits, notebooks, handmade pens, bags and accessories, there is something to make you stand out from the crowd.
