Bristol has a wealth of industrial architecture. During the 90s when Britain began it’s material make-over I spent time drawing and painting the remains of the old gas works at Canons’ Marsh. Hotwells Sunset is one study, made in situ. Renovation of the area hadn’t taken place and derelict structures formed monolithic silhouettes against the skyline. On a good evening during early Summer I sat and painted this view from within the Hotwells roundabout.
I used gouache (a form of water based paint) on muslin board. By working a thick paste of gum arabic into the paint, you can get it to behave in a similar way to oils. The medium (an ingredient of gouache paint ) is made from the sap of trees grown in Africa. When used this way, the gum causes greater tow on the brush; eliciting more wilful manipulation of the paint. You can use skeins of pigment, creating ‘air’ in the brush-work, utilising ‘broken colour‘.
The frosted confection of paint describes urban material, creating a sense of movement in this busy part of the city. Colours are distinctly complementary: orange contrasted with blue/violet. The texture of the muslin ground has an effect on the overall surface. I used a fine brush to delineate ‘edges’ and assert form, condensing energies in space and time. Part of a series of works done in and around Bristol, this artwork was shown at the Architecture Centre as part of an exhibition titled ‘The Gasworks’ – sponsored by the gas piping company Transco.
The buildings depicted have since been restored and put to use – so the scene can no longer be witnessed. I have captured fleeting moments in an ever changing fabric – the urban cityscape.
‘Hotwells Sunset’ is a painting in gouache on muslin board, by Alan Dedman. The artwork is approximately 40cm x 60cm . The painting is framed with a Burnt Sienna slip and sculpted outer in plain wood . Price: £1,100.00 gbp.
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