Painting: Footbridge, River Hull

 

Painting: Footbridge, River Hull

Footbridge, River Hull 61 x 45 cm

Background and Context

In my third study I wanted to discover how I could interpret the muddy banks of a tidal river. I had been on a couple of walks along the banks of the River Hull in the centre of the city during last year, and taken photographs.

I remembered how in one place there were bright green patches and lumps of grass growing in the brown clay along the river’s edge. Tall old warehouse lined the route and cast deep shadows, whilst through the gaps the sun shone brightly through. In front of me was a modern footbridge which gave scope to depict a solid structure and work with its strong form. In the distance, there was the distinctive shape of Hull’s tidal barrier and scaffolding to the right. Bollards in the foreground added to the composition and created a feeling of depth and perspective.

Process

I used the same palette and method of working as before. As I wanted a more muted image I left the background sky and much of the foreground void of paint apart from the grey/brown base coat. Where the muddy river flowed through and under the footbridge, I left some of the paint free to drip and dribble.

 

Dark and light tones (prior to the addition of detail)

Detail (above)

Outcome

I feel that my earlier experiments with paint handling, particularly the two large lock paintings, have helped me use different techniques for the effects I am wanting to achieve, for instance, the watery, muddy flow of the river, and the built-up mass of brown clay left by the receding tide.

CONCLUSIONS

The three colour studies have enabled me to consider the use of colour in different locations and with differing light sources – through a dark “keyhole”, with bright light and reflections, and with side light filtering through gaps in buildings. I depicted a pond, a canal and a tidal river – thus expanding the scope of my practice.

I used colours which I considered would produce an “English” palette, such as that used by Michael Andrews for his Thames Series. My use of colour was also informed by research I did, particularly drawing on the work of John Singer Sergeant.

The change of environment i.e. a river, as opposed to a canal, has given me the opportunity to experiment with the changing dynamic of tidal flow. I can build on this experience as I move forward and expand my practice to portray waterways in the bigger context of the Humber Estuary and large canvases.