There were traces of cutting up. Several fireboxes stood out like rib cages amongst the offal of severed wagon wheels and buffers. The unidentifiable remains of spoked locomotive wheels, perhaps all that was left of 4156 or 92085, which had been the last locomotives to be cut up in 1980, formed a pathetic still life at the trackside. I should confess that the artist in me was disappointed that no cutting up was in progress. I had seen photographs of partially stripped locomotives assailed by men wielding oxy-acetylene torches and had been excited by the pictorial possibilities of disembowelled boilers and flying sparks.

This first visit was fleeting. I had an appointment in Bristol and had little more than an hour to absorb the atmosphere and take as many photographs as possible. There was no time to make drawings. I had not anticipated the scale of the yard and the sheer number of locomotives held there. My meagre supply of 72 exposures was totally inadequate, as was my standard 50mm lens. So I shot almost at random, trying to seize as much as possible, convinced that I would never have another opportunity to record the overwhelming sensations stimulated by this unique but very vulnerable collection. I concentrated on details, especially of wheels and what remained of running gear. I made no notes and have consequently had to spend many hours since trying to identify the locomotives.

I wanted to make a personal statement about what I had seen and experienced during that all too short winter afternoon. My first attempt was a pastel drawing of 48173 with its proud message 8Fs ARE ACE. Pastel allowed me to deal with the experience of colour and texture simultaneously and dictated a large scale which would convey my feelings much more directly than the smaller scale of even an enlarged photograph. The process of transcription from photograph to pastel drawing also allowed me to select and emphasise those qualities, particularly of colour and texture, which I had found so moving at the time of the visit. I adhered strictly to the form of the locomotive and was determined that the enthusiast with little or no interest or training in art appreciation should nevertheless be able to recognise the subject and enjoy the picture.

   

All text and images copyright © Brian Sefton/BlackFive 2000. Unauthorised reproduction prohibited.