Wednesday, January 8, 2020

New Topic: The River Hull

New Topic: The River Hull

Introduction

Over the previous twelve months I have been studying the site at South Ferriby, getting to know it, and depicting the landscape. In particular, I have considered how the River Ancholme has affected the area's social, economic and environmental features over the years.

I have researched not only the site, but also the work of other artists who inspire me, relate to my practice, and who I can learn from.

My work has culminated in the Portfolio of new paintings and prints, which feature in my recent Blog entries.

However, I feel that I now need to move on and give myself a greater challenge.

New Site: The River Hull

At this point in my practice I am now ready to tackle a different, more varied and challenging environment to depict the interaction between landscape and human activity.
I was born in Hull and when I travel into the City Centre and cross the bridges over the River Hull I am inspired by the views of the tidal river and industry along its banks. Its history goes back decades. The views and moods change with the tides and unpredictability of the weather. The muddy banks at low tide and the disused warehouses and riverside activity are fascinating. The river has captured my imagination.


Bankside, River Hull

Work Panning
Commencing in January 2020, I will sketch views, take photographs and research the area. I will then continue to progress my painting and print making practice in accordance with the approach I have developed so far.
In particular, I will concentrate on capturing the essence of the natural landscape and industrial heritage along the banks of the River Hull, as it travels through the heart of the city and into the Humber Estuary.
I will continue to experiment with larger paintings and with a restricted palette, concentrating on capturing the mood of the riverside landscape.
My prints will be monochrome, but I will experiment with a variety of shades and hues.
The aim of my work will be to capture what this landscape means to me, and in doing so, I hope to touch the feelings of my audience.
Over the next eight to nine months I will aim to produce at least six large scale paintings and a series of at least six prints.
At the end of that period I will hold a public exhibition of my works, at a venue yet to be decided.
Conclusions
I feel inspired by my choice of a new topic. The site links very well with the themes I have developed over the previous year. The natural environment of the River Hull is very diverse and changing all the time. The river has had a huge impact on the way the city has developed. Its location has brought commerce and industry to the area, which unfortunately, more recently, has been allowed to decay. It is said that Hull is a city of two halves - and this is true. Within the city boundaries there are no fewer than thirteen bridges which span the river. When the bridges are raised for river traffic, the city comes to a halt. Ways of crossing the river, using it as a means of travel and a resource, has lead to the development of Hull's unique culture and character. Flooding has been a real threat, and due to climate change, continues to be. Locks, dredging, and the tidal barrier all play their role. Man-made structures dominate the river and the surrounding area, but wildlife, especially in the Humber Estuary, remains very much in evidence.
I have already started to walk alongside the river and begun to breathe in the landscape, its atmosphere and scope for me as an artist..
 
 

Monday, January 6, 2020

New Work: Portfolio -Printmaking (2)

New Work: Portfolio -Printmaking (2)
 
COLOUR (continued), and aspects of SCALE
 
Works and process 
 
Screen Printing 
 
 
South Ferriby Marina; “Yacht”, screen print, black 


Experiment: “Yacht” with colour applied during the printing process
 
 Urbscape 1”, screen print, black
 
 
Experiment: “Urbscape 1” with colour applied during the printing process
 
 
A printing screen ready for the inking process
 

Screen printing machine, Hull College
Monochrome
Over the previous few months I have investigated using more colour in my prints as shown in the examples above.
However, although some of the outcomes were relatively successful, I thought that overall the colours detracted from the quality of the prints and their visual impact. The impact was rather "muddled".
Scale within the picture plane
I therefore experimented further by using monochrome. I also used some of the images to experiment with the use of scale within the picture plane. This concept had already been useful in adding power to my paintings, and I felt that the same approach may have similar results for the printmaking side of my practice.
Etchings
 
River Ancholme: “Pylons”, etching, dry point and aquatint, monochrome, in burnt umber (above). The scale of the pylons was emphasised by the use of strong perspective.
I felt that the combination of the monochromatic colour scheme and the dynamic composition was successful. It emphasised the scale of the pylons by the use of a strong perspective angle and the burnt umber added atmosphere.
 
 Old River Ancholme: “Moorings”, etching with aquatint, monochrome, black
Here I used the scale and the height of the landing stage, with its reflection in the water, to add dynamism and mood to the image.

Old River Ancholme, “Moorings”, The zinc plate ready for inking up
Screen printing
 
South Ferriby Marina, screen print, monochrome, black
 
 
The original “Truegrain” drawing (pen and ink with ink wash), prior to being imposed onto the screen
The overhead conveyor belt, which conveys cement across the river to the factory beyond, is very over-bearing on the landscape. I used the scale of the conveyor belt as a powerful tool to emphasise its dominance over an otherwise "idyllic" scene.
Conclusions and relevance to my practice
Colour
As indicated above, I have  concluded that monochrome and the use of a muted palette for prints using a monochromatic colour, such as indigo or burnt umber, is more effective. This approach links better with the concepts of my painting practice, is more consistent, and the works as a whole hold together better visually.
As regards scale, the etching process restricts the size of the metal which can be used, and so the dimensions of my prints will remain approximately the same.
However, there is scope to use composition and the effects of scale to add power and dynamism to a print.
I experimented with this concept during the production of  prints such as “Pylons”, where the scale of the  structures was emphasised by the use of perspective.
I also found ideas behind  the use of scale helpful in constructing compositions around water and reflections, such as "Horkstow Bridge" and "Moorings".
As I move my print making practice forward, I will be concentrating on aspects of scale within a composition, and producing the final prints in a variety of monochromatic colours. My aim will be for this combination to add power to my works and engage the viewer.





 

 





 
 

 


 



 




 




 





 






 







 








 


















 
 
 
This decision has assisted in honing in on the key elements of my practice statement and my approach to colour and a restricted palette.
Scale

 
 





 
 
 
 
 
 
 
 
 
 


 
 

 


 
 
 



 


 
 
 
 
 



 
 
 
 
 
 




 

 

 

New Works: Portfolio - Printmaking (1)

New Works: Portfolio - Printmaking (1)

PRINTS: COLOUR
Introduction
The print making side of my practice continues to be consolidated. I have restricted my output mainly to etchings, which makes the most of my drawing skills and interest in tonal qualities.
However, as well as etchings, I have also made some interesting screen prints, exploring the use of colour.
Works and process
Etchings
Etching Press and one of my prints, Hull College
 
Horkstow Bridge



Experiment: inking up the metal plate direct with different coloured inks, black and raw umber - I rubbed too much of the ink off in parts during the process, and I learned from this.
 
Horkstow Bridge
Experiment: etching printed onto pre-prepared water colour (see below)


Experiment: brighter, more “Fauvist” colours

The pre-prepared water colour under-painting - I tried to follow the composition of the print with colour
 
 Humber Estuary: “Hide” - Initial etching (line - prior to tone being added with the aquatint process)
 
“Hide” etching with aquatint, monochrome, black/brown
 
“Hide”, with water colour under-painting (process as above)
 
I then went on to experiment using colour in the screen printing process.
 
 

Sunday, January 5, 2020

New Works: Portfolio - Painting (2)

Creating my own Exhibition (1): Background and Starting Point

Introduction

Over the previous eighteen months I have been developing my practice with a view to producing an exhibition of my work in August this year.

I  built up my knowledge and skills in preparation for creating a successful exhibition in four key areas:

- continuing to compete and exhibit in local and regional galleries as part of large-scale exhibitions

- visiting regional and national exhibitions and galleries

- interviewing practising visual artists and curators

- holding an exhibition/small show of my works at Hull College (May, 2019) and at a Symposium (January, 2020)

This was the starting point for my early ideas, discussions and visits in preparation for the Exhibition.

Participation in Local and Regional Exhibitions

Nunnington Hall
Burton Constable Hall
Hull Fishing Heritage Exhibition
North Lincolnshire Open Exhibition, the Ropewalk, Barton
Ferens Art Gallery
Beverley Art Gallery


What I learned

Visits to Exhibitions and Galleries

What I learned

Interviews and Discussions with Practising Artists and Curators

What I learned

My own Exhibition/Small Show

What I learned

Conclusions and Next Steps