Ropewalk News

Heritage Book Fair – Saturday September 15

By richardhatfield |

A rare opportunity to acquire books from the personal library of one of area’s most noted local historians, Geoff Bryant, takes place on the penultimate day of Barton upon Humber’s Heritage Open Days.

The collection of general history books will be on sale as Mr Bryant has taken the decision to reduce the size of his personal collection that he has built up over more than five decades involved in local history particularly during his time as tutor organizer with the Workers’ Educational Association.

“The Heritage Book Fair will include a programme of talks by local authors and historians as well as heritage book stalls giving those with an interest in local history the chance to delve further into the town’s fascinating history in the company of other enthusiasts as well as building up a personal collection,” said Liz Bennet of The Ropewalk.

Mr Bryant begins the series of talks at 11am in the Humber Room when he will highlight books published about the heritage of Barton upon Humber and their importance. He will also discuss the merits of the publications and give his recommendations for the must reads.

Three quarters of an hour later bicycle enthusiast Nigel Land will talk about Elswick Hopper Cycles, the company that grew from a small whitesmith’s business in Brigg Road in 1880to become one of the largest bicycle factories in the country with the factory based on  Marsh Lane and run from a prestigious office building at the corner of Brigg Road and Market Place.

His first brand was Ajax, first marketed in 1890 and just 20 years later the assets of a prestigious Newcastle company – Elswick Cycles were acquired. Owner Fred Hopper experienced many ups and downs over the years, but finished up employing more than 600 people becoming Managing Director of the Elswick-Hopper Cycle and Motor Company Ltd.

In Nigel’s book, Elswick-Hopper of Barton-on-Humber, the full history of cycle manufacture in the town is recorded, including the early Falcon story and that of Nigel Dean Cycles. His talk will include many photographs of the business, many of which have not previously been shown.

At 12.30pm Richard Clarke, an adult education tutor and well-known speaker and tour guide, will be talking about housing in Barton and will be presenting ideas from his publication Housing in a North Lincolnshire Town, a comprehensive study of domestic architecture during 19th century Barton upon Humber.

The afternoon is given over to a talk by local historian Brian Peeps who, at 2pm, will be talking about Barton upon Humber shops and public houses

His illustrated talk will use images from his vast collection of historic Barton photographs and postcards that spans more than 100 years of the town’s history and this talk will concentrate on notable shops and public houses as they were and how they are today.

 

The fair runs 10am until 4pm along The Ropewalk’s corridors starting at the Artspace and stalls include, as well as general history books belonging to Mr Bryant, an Oxfam book shop collection of history and antiquarian books, Fathom Press local heritage books, and a large collection of art history books from The Ropewalk as well as the Wilderspin National School Museum.

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Luke Jerram

Harrison’s Garden

If John Harrison had a garden, how might it have looked?

In 2017, artist Luke Jerram took that thought and turned it into an amazing and imaginative exhibition that has been touring the UK. His idea was to create a ‘an imagined garden’ of clocks clustered into species, forming ‘flowerbeds’, ‘islands’, ‘pathways’ and borders’. Luke’s array of around 3000 timepieces has now visited the beautiful National Trust properties of Nostell Priory, Gunby Hall and Penrhyn Castle.

And in January 2019, Harrison’s Garden will reach its final destination at The Ropewalk. Bringing Harrison’s Garden home has been organised by the Better Barrow Community Project and Luke has kindly offered to donate the clocks to their fundraising cause to erect a statue of John Harrison. The clocks will be auctioned at the end of the exhibition – for further information visit betterbarrow.org

Harrison’s Garden was originally commissioned by Connect! and presented over 5 days at Devon’s Thelma Hulbert Gallery in 2015.

By richardhatfield |

Chrissy Collinson – Sites Unseen

The Tenfoot Series of paintings is a distillation of Hull’s hidden and unseen urban routes. These hidden routes have provided inspiration for me as an artist who lives in Hull and is intent on discovering the picturesque of the everyday, the roughness and irregularity of the mundane. My paintings are not though to be viewed as exploitative of the ‘down at heel’, but observation of this urban picturesque, and are paintings first and foremost.

As a keen walker of the Tenfoots I am never without my camera. I observe and record the fragility of rotting wood, holed by worm and beetle alike. I find the ad hoc nature of Hull’s Tenfoots fascinating: the make do and mend fences; the mock Tudor and Swiss chalet style garages; patched up boundaries and beguiling attempts at security. It would seem that Hull’s Tenfoots appear to be held together by flaking paint and rusting hinges. My paintings are as varied in subject matter and colour as the Tenfoots are in diversity.

Back in the studio I use photographs to compose and decide the subject matter to be painted. The resulting compositions are intended to concentrate the viewer’s gaze to a certain mark, form and/or structure of, or upon, a surface that initially caught my eye. There is no visual clue of a horizon or vanishing point. Nor are they meant as decorative shape and colour. The Tenfoot Series is an expression and first hand exploration of a familiar (to me) landscape through the concentrated and detailed process of painting in oil paint on an intimate scale.

By richardhatfield |

Studio Artists’ Show

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 |

Retrospective: Max Marschner 1929-2017

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 |