Fathom Writers returns after a three-year break

By janetuplin |

After a three year break Fathom Writers is back and ready to breathe new life into creative writing at Barton upon Humber’s The Ropewalk.

“Fathom Writers started in 2007 and paused as an organisation three years ago but thanks to new impetus from the Northern Accent Literature project we restarting classes next month,” said treasurer, Liz Bennet.

“The group is open to anyone interested in improving their creative writing skills. Meetings are informal with a focus on contemporary writing with a range of guest workshop leaders who have included novelist Karen Maitland and performance poet John Hegley,” Liz went on.

The first of three eight-week writing courses, Telling A Story, will be led by local writer and experienced Creative Writing tutor Sue Wilsea and will start on Thursday 14th May from 6.30- 8.45pm.  The cost for the course is £80 for non-members and £75 for members.

“We all love listening to stories: they help make sense of the world around us and give shape and form to life. This course looks at how to write them,” Sue explained. “How short is a short story and when and how do they become novellas or novels? What about structure, plotting, characterization and dialogue? What makes a great beginning and a satisfying ending?”

All these questions and many more will be addressed in sessions which offer participants stimuli for writing and guidance through the construction of their own fiction.

Membership for the group costs just £10 a year and members benefit from reduced class fees and advance notification of special classes and events. You can join at any class or in the Craft Gallery at The Ropewalk.

The Ropewalk is also hosting a writing workshop, Words on the Westwood, organized as part of this year’s Beverley Folk Festival.

Held on Wednesday, May 6, the workshop will again be led by Sue and will  be full of ideas and tips on how to unlock your creativity.  Open to all, with no experience necessary, the workshop runs from 6.30pm until 8pm and costs just £5.  To book call Sue on 07985377539.

 

 

 

 

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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 |

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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 |

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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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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.

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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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