Monthly Archives: October 2013

Tim Needham & Richard Hatfield

By richardhatfield |

Tim Needham and Richard Hatfield are two of the founders of The Ropewalk and have been exhibiting together for over fifteen years. This latest show features paintings and prints created in the last few months and includes some larger scale works especially produced for The Artspace.

Hatfield & Needhams’ interest in painting stretches back through careers that began just 1 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.

Needhams’ concern for the formal qualities of painting and the painting as object – the importance of the frame, the edge, the physicality and formality of the canvas – touches on ideas of sculpture. And whilst both artists share a concern for surface and the very particular qualities of paint and the act of painting itself, Hatfields’ approach brings ideas of addition and subtraction to surface, through layering, working and re-working the medium.

For Needham, un-primed canvas is of particular appeal. Paint is often applied almost as stain, irrevocably making its mark within the frame and creating the energetic drive behind the piece. Often working on location in the open air, his interest in form and colour is sometimes contrasted with particular geometries – formal elements which juxtapose the apparent freedom of the painterly act. These impasto, or raised areas, bring an almost imperceptible terrain to the canvas.

Whilst Needhams’ works appear to stem from indefinite vantage points, Hatfield takes the idea of location, and of landscape itself, as an expansive vista of infinite potential. He works paint into multilayered and complex surfaces, where, through repeated attention, he seeks to reveal a critical moment of harmony in the life of the work. This approach finds dramatic effect even in the smallest of works, where, through mixing colour directly onto the painting, hues and tones emerge, appearing to have almost seeped out of the environment and into the surface of the painting.

For both artists, their work is a way of looking and documenting, but also an enquiry where the artist may re-imagine, and perhaps re-animate their evolving relation to the wider world.

Having first met when each relocated to North Lincolnshire, they now occupy a shared studio space at The Ropewalk. Within this showing, both artists choose to place their independent practices in dialogue, highlighting the ways in which the disparate and common themes of their works intersect and collide.

Gill Hobson, artist and writer.

Workshops at The Ropewalk

By janetuplin |

Alison Walling will be leading a Christmas themed workshop, Willow Christmas Wreaths and Decorations,  at The Ropewalk in the run up to the festive season.

On Saturday December 14 she will be demonstrating how to make circular and heart-shaped wreaths and then decorating them with greenery and berries.  And there may also be time to make stars and wands.
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October workshops at The Ropewalk

By janetuplin |

A limited number of places are still available on day workshops being held at The Ropewalk in Barton upon Humber later this month.

Chris Roantree, originally from Scunthorpe, studied printmaking at Lincoln University and the Royal College of Art in London, and often returns to the area to take workshops at The Ropewalk.
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Latest exhibitions at The Ropewalk

By janetuplin |

The penultimate exhibitions for 2013 at The Ropewalk in Barton upon Humber are opening this month.

On Saturday, October 19, one of The Ropewalk’s studio artists, David Alcock, is exhibiting work which ranges from heavily worked surfaces that have been repainted over many layers through to a sparsely painted series of small scale works on canvas. Continue reading »

David Alcock: Paintings

By richardhatfield |

The work in this show ranges from heavily worked surfaces that have been repainted over many layers, through to a sparsely painted series of small scale works on canvas.

The common ground within these works is that they feature a balance of considered and controlled marks that interact with a more accidental type of mark.

David uses these accidents, drips and poorly mixed colours, featuring them, painting around them to highlight them and repeats them so they form as much a part of the structure of the paintings as the more considered marks. He believes every mark should have an equal footing.

Further to this he catalogues marks, both accidental and considered, noting them down, so that they can be quoted and re-used in future paintings.

David’s approach is to work straight onto the surface without a preconceived idea of where the painting is going to end, however at an early stage of the painting he often counteracts this intuitive approach and adds structure through the introduction of previously recorded marks.

“The last thing that happens to most of my paintings is to give them a title. I wouldn’t want the title to pin it down to being about one thing, it’s just something I feel like I need to do.  I might see something in the painting at the time that connects with a personal experience or memory, and in that way it has a reference to the outside world. However in the end they are primarily about the process of painting and what the viewer sees in them.”

Collection: Christine Cummings

By richardhatfield |

Christine Cummings has spent her life surrounded by many and various farm animals and pets so the influences for her work are as obvious as first seems.

She has been creating ceramic sculptures for more than 10 years and her unique style and love of the natural world is captured by her beautifully hand crafted pieces. Whether it’s a grazing cow, a scratching chicken or a dog lolloping down the road, inspiration is never far away.

Sketching is a very important part of her work as Christine studies the subject at great length aiming to capture the creature in simple lines.

Christine’s portfolio shows her commitment and love for fine art, the finished pieces created  using Earthstone hand building clay decorated with porcelain slips or raku fired depending on which it most lends itself to, express her natural ability to realise her research and observation.

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