Sunday, December 23, 2012

World Cup '74 #8 (Carlos Guerini)

graphite & putty eraser/30x20cm

Drawing up to the very cusp of the festive season with the latest in the series based upon original source material taken from the FKS ‘Wonderful World of Soccer Stars World Cup 1974’ & Panini ‘Munchen 74’ albums of collectable stamps/stickers issued to mark the advent of & celebrate the 1974 football World Cup.

The subject of the original picture stamp now represented in the somewhat distanced ‘pixelated’ form of the toned squares of the grid structure is one Carlos Guerini, who, research reveals, did not actually make the cut of the final Argentina squad for the tournament & thus, in the context of the hauntological proceedings of the Project, has a suitably ghostly presence in relation to the 1974 World Cup.

Sunday, December 16, 2012

World Cup '74 #7 (Enrique Chazarreta)

graphite & putty eraser/30x20cm

With all justificatory explanation as previously, this drawing is the latest to be processed in the project exploring a hauntological representation of the 1974 football World Cup.

In formal terms, it further establishes/entrenches the commitment to the modernist grid, with a distinct portrait subject forming from the matrix of toned squares as they accumulate & coalesce, being on this occasion, Enrique Chazarreta of the Argentinian squad, another name previously unknown to me from hazy, mostly generalized recollections of the event, hence the monochrome representation.

Research reveals that, in addition to being selected to appear in the FKS ‘Wonderful World of Soccer Stars World Cup 1974’ stamp album from which the original image upon which the drawing is based is sourced, Chazarreta made one brief appearance at the tournament itself, as a 78th minute substitute during Argentina’s second First Round group match , a 1 – 1 draw with Italy.

Monday, December 10, 2012

World Cup '74 #6 (Daniel Carnevali)

graphite & putty eraser/30x20cm

Continuing the hauntologically-inclined World Cup ’74 project, with the series of drawings based upon the contents of a pair of sticker & stamp collections issued in anticipation of &, subsequently, to commemorate the tournament.

Following the established & already oft-mentioned process of image capturing, manipulation & handmade representation, the portrait subject that emerges on this particular occasion - albeit in rudimentarily-pixelated & not necessarily recognizable form - from the toned square by toned square drawing method becomes the sixth member of the Argentina squad as featured in the FKS ‘Wonderful World of Soccer Stars World Cup 1974’ album from which the majority of the original image-objects are being sourced, the goalkeeper Daniel Carnevali, another of those ‘unknowns’ to my memory, who was selected to make five appearances for his country during the course of the tournament, featuring in all their matches except the concluding ‘dead rubber’ fixture against East Germany.

Sunday, December 09, 2012

Having a Re-think/Re-draw Again #3: World Cup '74 #3 v3

graphite, cloured pencil & putty eraser/30 x 20cm

Presenting, eventually, what is the third version of the third source/subject in the World Cup ’74 stamps/stickers drawing project, in the form now of what has become the standard mode of representation, the A4-printed pixelated original (two versions of) processed within a grid matrix.
In this particular instance, & as previously mooted for such a purpose, the medium used is coloured pencil rather than the habitual monochrome graphite, for the reason that the portrait subject, Ruben Ayala, is one of the few footballers who played at the tournament that I can actually remember from the televised coverage as witnessed, at least by name if not necessarily deed, & who also features within the stamp/sticker collections, thus, it is considered, such memory requires acknowledging, highlighting, aesthetically: such players suggest that they should be separated from the homogenous, unrecalled or never-known mass of the generality of the competition, their representations should be more vivid, even if, ironically, the visual experience came via the medium of black & white television.

Research reveals that Ruben Ayala, of the flowing dark locks, played all 90 minutes of each of Argentina’s six matches at the 1974 World Cup &, as previously noted, scoring one goal, the third in his country’s 4-1 First Round group game victory over Haiti.

Sunday, December 02, 2012

Artful Anniversary

Birthday weekend here at TOoT, yesterday being the seventh anniversary of the blog’s inception (& they said it wouldn’t last), &, to celebrate, a jaunt to Liverpool (one such being the very subject, coincidentally, of the initial, pioneering post) to visit, admittedly a little belatedly, the John Moores Painting Prize 2012.
It’s always something of a biennial treat to indulge in the Moores’ showcasing of contemporary painting & whatever developments might be discernible &, accordingly, anticipation is always keen as one mounts the steps of the grand old Walker to gain entry to.

Traditionally held in three of the Gallery’s rooms, one large & hall-like, two smaller (one of which serves as the entrance/intro), this year’s exhibition is no exception as, neither, is the eclectic mix of selected work on show, evidence of the enduring creative appeal of applying pigment to delimited surfaces, even if establishing the purpose & vitality of doing such then becomes the subjective preserve of the critical faculties of the spectator.

The first room features an intriguing & enticing selection of varied work, including a few favourites-to-be, beginning with Enzo Marra‘s delightfully painterly buttery impasto, pinkish monochrome based on a photograph of an elderly Monet at work in his studio at Giverny, a most apt introduction to an exhibition celebrating the continuing relevance of painting as activity & paint as medium.

Opposite this, one finds, strikingly, Bernat Daviu’s ‘Overall Paintings’, which are, essentially, primary coloured canvases made, stitched, into garment form, hung from the wall one over another on wooden hangers, which, with the generating concept as stated in the catalogue (that ever-essential purchase, & also available for consultation online), are a satisfying take on the painting-as-object(s), although this physical aspect (in) itself is indeed the work’s strength, irrespective of the theory. Daviu’s is one of a small number of ‘paintings’ that might be said to expand the scope of the definition, also including Liz Elton’s corner-hung & aptly-entitled ‘Twisted’ mass of multi-coloured plastic, Dougal McKenzie’s composition of two small studies accompanied by a hung floral-printed garment (of something of a 70s vintage), Onya Macausland’s trapezoid block with its mirrored shape stained directly onto the wall beneath it, &, subtly, Sonia Morange’s ‘Poncho’, which, composed of stitched-together triangular scraps of (mostly) brightly-coloured canvas, relates rather nicely to Daviu’s overalls.
Mention should also be made of the piece I’d already identified, some time prior to visiting the Prize, as a must-experience, Laura Keeble’s flattened Coca-Cola can upon which she’d painted a schematic rendering of a phalanx of riot police, the object collected in the aftermath of the London social unrest of 2011.

Back in the room, one of the prizewinning entries, Stephen Nicholas’s ‘Gallery’, appears at a distance to be something of a fairly minimalist abstraction, but closer inspection reveals ghostly suggestions of figuration behind surface washes & some lovely overlaying of colours, a painting to be studied & savoured, skilfully balanced between abstraction & figuration.

As to the conceptual game of Peter Liversidge’s ‘Proposal…’, I have to admit to finding the framed object of the original typed letter, the page folded twice, more of an aesthetic experience than the subsequent painting, even allowing for the dialogue between (of course, the appreciation of the former is a consequence of the presence of the latter), evidence of the laborious process of transcribing by hand, in paint, the mechanical process of the typewriter (the pressing the keys of which is itself a manual activity) & my own previous attempts at drawings of crumpled, sometimes printed-with-image-content paper: the thing itself is more engaging in its physical thingness than the representation (as ‘thing’), which, I recognize, is probably be true of my own efforts/results.

As often with the Moores, one finds certain thematic threads running through the selection & hanging, not least on this particular occasion something of a return to geometric abstraction, at least once one enters the main ‘hall’ – numerous examples are on view, perhaps the most enjoyable being James Ryan’s arrangement of shapes upon a ground of chequered cloth (the distorting stretching of which results in something of a pleasing, undefinable three-dimensional appearance face-on), the whole ‘image’ then toned-down with a wash of white (the original red of the original cloth being visible down the painting’s sides); Biggs & Collings’s jewel-like, bright luminous colours activating the greyer tonalities of the matrix of regular triangles of their ‘The Greater Light’; & Jane Bustin’s tripartite composition of objects (a not insignificant aspect of their attraction) – one a square, muslin-covered stretcher (mistily visible through the fabric surface), a rectangular block of treated wood & a lower square block of MDF, the face of which is painted a beautiful deep blue gloss.

Oliver Perkins' ‘Dead Rubber’ is an intriguing thing, minimal in terms of ‘image’, which closer inspection reveals to have a slightly raised interior section, marked out in ink, stretching the smoothly gessoed canvas in a manner that suggests a skin- or rubber-like surface, giving it too a more object-quality, subtle though this is, expanding what would otherwise be something very deadpan.

There’s something rather deadpan, with no pun intended, about Eve Ackroyd’s ‘Dead Man’, a deceptively simple depiction of a prone figure mostly obscured by a triangle of cloth that itself balances abstraction & figuration, the subtlety of its colouration & painterliness giving a poignancy & quiet monumentality to the subject.

There are also examples of more painterly abstraction too, of varying degrees of visible complexity, some again walking the figurative line with elements of collage, which is another discernible feature amongst some of the selected works: related to this trend, on a grander scale Pat O’Connor’s ‘Black’ is an assemblage of a variety of small paintings, drawings, watercolours & found media imagery, mostly figurative with a few elements of pattern, with no especially discernible connection other than references to the title, thus supporting the artist’s intended ‘disjunctive’ nature of proceedings, perhaps.

What might be termed Moores staples are less in evidence than on some occasions – there’s what seems a smaller than usual selection of photorealism with the choice of Paul Collinson, & Wayne Clough’s & Nathan Eastwood’s monochromes, the former two belonging to that strain of work featuring or suggestive of depictions of social unrest/decay/terrorism/war, grouped together in what in effect is the furthest corner of the exhibition (& also including Laura Keeble’s Coke can, James Bloomfield’s monochromatic flurries based on an image from the Iraqi conflict & Jarik Jongman’s crepuscular ‘Waiting Room (1)’, from which emanates an unhealthy orangey glow, illustrated the distressed interior of the title), & the latter fitting neatly into various depictions of details of the built environment in the exhibition’s third room (if one follows a circular course, otherwise it could be visited second, or even first).

Eastwood’s Humbrol-painted scene (George Shaw, who uses the same medium himself, was one of the selection committee) is positioned amongst a run that includes Danny Markey’s sketchy, small-scale snow scene of a traffic island, the orange glow from the central bollard of which effectively illuminates well beyond the limits of the painting, & the greenish-washy Modernist architecture, pictorially perched upon the edge of what appears a clifftop, of Graham Cholton’s ‘Edge of Town’, aptly diminishing into the spatial depths of the picture. On an opposite wall, one might find the intriguing Rae Hicks‘Late Summer Mirage’, where what appears to be a race circuit amidst a forest setting is obstructed by, scale-wise, a massive blank dark rectangular block, somewhat subverting the sunlit scene in a curiously sinister, unsettling manner. Nearby along the same wall (amongst the ‘landscape’ section).
Henny Acloque, one of the recurring names from previous Moores, also disrupts in this instance a more traditional idyll, with a series of vertical strokes (representing, it transpires, original human figures) that have an incongruously & subvertingly bold, abstract, ‘modern’ quality within such a context.
The familiar name of Amikam Toren also intervenes within the found landscape painting, as usual cutting out words from the canvas.

Between these walls, in the centre of the gallery space, is Narbi Price’s ‘Untitled Kerbstone Painting’, another of those disregarded urban ‘non spaces’ imbued with poetic life through the medium of paint, the composition an arrangement of textures & geometric frameworks, the significant aspect of these (at least here at TOoT) being the diamonds of worn road markings upon the tarmac that enliven the scene, the whole surface being a series of painterly delights. Price, it might be noted, contributed a striking, contemplative image, of an unpopulated children’s play area featuring a see-saw, to the previous Moores, too.

These, at least, form the main impressions/highlights of the visit, of a varied show that didn’t necessarily suggest itself as being one of the really good & especially inspirational Moores but nevertheless repaid the effort to see it: certain trends come & go, but the selection generally promotes a wide range of painting practice, & provides pleasure for the eye & food for thought.

Friday, November 30, 2012

World Cup '74 #5 (Miguel Brindisi)

graphite & putty eraser/30x20cm

Presenting the latest drawing in the World Cup ‘74 project, the original source being a picture ‘stamp’ forming part of the FKS ‘Wonderful World of Soccer Stars World Cup 1974’ collectors’ album, subsequently scanned, reduced significantly in its digital dimensions & then printed on A4 scale, this object with its crudely pixelated image then serving as the immediate point of reference from which the drawing is processed, square by toned square within the overall, all-over grid matrix. In fact, two distinct variations on the original scanned image, in the form of two separate & different reductions, one half the size of the other & consequently individually pixelated to twice the dimensions, were utilized as the sources for this particular drawing, being thus a composite of both, & the formal development that might be observed, influenced by some of the variously-pixelated photo-sourced drawings of D-L Alvarez, an interesting & ‘influential’ artist (most certainly now) mentioned previously here at TOoT, back in the days of 2008’s drawing Project.

D-L Alvarez
from 'Vitamin D: New Perspectives in Drawing'; Phaidon; 2005 (2007)

Although the act of drawing is itself the essential subject, the portrait subject that comes to be represented, schematically at least, via this drawing process is, on this occasion, Miguel Brindisi of the Argentina squad as predicted/proposed by the FKS album &, as it transpired, in actuality, although his is another of those names of former footballers of which I have no prior knowledge (thus the research for the project is proving something of an education, in global football/World Cup history).

In the opening round of group matches, Brindisi alternated with Rene Houseman (one of the relatively few players I do actually recall from the tournament) in the Argentinian team, being substituted for the latter during the first game, replaced by him for the second & coming on as a substitute for in the third. In the second phase, Brindisi was omitted for the first match, reinstated & designated captain for the second - a 1-2 defeat to Brazil during which he scored what at the time was the equalizing goal for Argentina - & retained his place for the third, his already-eliminated country’s final appearance at the ’74 World Cup.


Vic Godard & Subway Sect ‘We Come As Aliens’
The Stranglers ‘The UA Singles 1977-1982’, ‘Black and White’ & ‘The Raven’

Indulging in the delights of Vic Godard & Subway Sect’s stonking, garagey ‘We Come As Aliens’, a fine & welcome companion to the live sound of the band as experienced recently, & revisiting the sounds of The Stranglers - once my very favourite band, for the first time in a very long while & digitally, previously only ever being heard on vinyl & tape - some of which have endured better than others, but ‘Black and White’ (which John Robb has interestingly proposed as being the first true post-punk album: discuss) & ‘The Raven’ are fine albums still & it’s further pleasure to be reminded of some of their excellent singles releases.

Thursday, November 22, 2012

World Cup '74 #4 (Angel Bargas)

graphite & putty eraser/30x20cm

Continuing with the World Cup 1974 drawing project, originally sourced from the FKS ‘Wonderful World of Soccer Stars World Cup 1974’ & Panini ‘Munchen 74’ collector albums of stamps/stickers, the image-objects from whichever specifically relevant publication then being subjected to a scanning/reducing treatment to produce the pixelated photomechanical image in the form of an A4 print that serves as the immediate physical-visual reference from which the drawing is processed.

The portrait subject that not necessarily emerges, with any particular distinction, but perhaps rather is embedded within the modular drawing process of the grid of toned squares that resolves itself into some form of image, is, on this occasion, one Angel Bargas, the fifth member of the Argentina squad as featured in the FKS album, the fourth in the project here (out of sync as the third is still in production, its coloured media dependent to a large extent on being seen/assessed/drawn in natural light, of which there is seasonally so precious little), an arbitrary executive decision having been taken to replace an image/player from the FKS album with one from the Panini because it produces a better pixelated image.

Bargas, it transpires, did actually feature in the actual Argentinian squad & represented his country during the tournament, although as with most of the 1974 World Cup footballers, he was previously a name unknown to me, the hauntological resonance being attached to the event itself – my real introduction to football - rather than the majority of its participants.

Tuesday, November 20, 2012

The Road's Gone Out...

Today the opposite of tomato will tell you things to make your hair Straighten Out

A short afternoon visit back to the town of former residence, for the purposes of aural wellbeing, resulted in a most shocking discovery today. Gone, it appears, are the legendary double black lines, at least from the couple of locations where it was possible to ascertain evidence of this unfortunate development whilst perambulating prior to my appointment.

All that remains in some places is a certain ‘scarification’ of the road surface, the painted lines obviously scoured away by some process, appearing darker in tone than the adjacent, untouched tarmac, with perhaps a speck or two of the original yellow paint (over which the black had been layered, correctively) remaining & visible, otherwise wholesale resurfacing & complete obliteration seems to have taken place.

As anyone who might have visited this blog over its course (&, upon writing, we’re within two weeks of the 7th anniversary of its inception), this particular roadside/surface attraction has featured on many an occasion, from the early days to what has come to be the last appearance on May 14th of this year, primarily in documentary photographic form but also having been processed from such sources into drawing, initially in & for the many examples of itself & also, as aesthetic interests developed, as the scene for the visual recording of those numerous finds of discarded aluminium can ‘roadkill’ that have also littered (ahem) the passage of the blog.

To see it gone, therefore, results in an undoubted sense of loss. This, after all, was (to be) the primary subject matter for the ever-deferred Masters project, the intended site & opportunity for an exploration of the visual subject matter in whatever media might prove to be appropriate, not least drawing of course, and associated theoretical concepts: even though any such project would be based upon the photographic evidence amassed, still, it always felt & feels now, particularly acutely, that the source needed to exist in physical form, to be there, to be consulted &, probably, provide further, continued empirical reference material (material, perhaps, being the essential word).
What & where to now, one wonders, somewhat stunned in the immediate aftermath...?

Wednesday, November 14, 2012

Having a Re-think/Re-draw Again #2: World Cup '74 #2 v3

graphite & putty eraser/30x20cm

Here is the third version of the second drawing of the World Cup 1974 football stickers project, representing an enlarged print of a digital scan (subsequently reduced in its dimensions) of the original ‘stamp’ image-object as featured as a component part of the FKS ‘Wonderful World of Soccer Stars World Cup 1974’ album collection.
In heavily-pixellated, de-photographized, re-mediated form, the portrait subject buried within the drawing process is again Argentina’s Roque Avallay, no longer necessarily recognizable as such as his features are broken down into toned cells within the overall grid structure but nonetheless distinct from number one in the series, his compatriot Norberto Alonso.

Again, the usual modernist-minimalist & ‘hauntological’ conditions apply.

At the current rate of drawing progress, the estimate is that the project as proposed will take a good 10 years to complete, which, whilst daunting, is also quite a comforting prospect, somehow…

Thursday, November 01, 2012

Having a Re-think/Re-draw Again: World Cup '74 #1 v3

Today the opposite of tomato is Double Negative

For the third time, the nascent project of drawings based upon the primary image content of the collectable stamp/sticker collections published by FKS, ‘Wonderful World of Soccer Stars World Cup 1974’, & Panini, ‘Munchen 1974’, has undergone a formal reappraisal, with the first physical result of such a decision & process represented here, returning to square one, with pun duly acknowledged, with what comes, eventually, to form a crudely-pixellated portrait of Norberto Alonso, the first featured member of the Argentina squad for the 1974 football World Cup tournament.

graphite & putty eraser/30x20cm

From the original stamp, scanned & then reduced in size, by experimental degrees, to 30% of its dimensions, a black & white A4 print was made, enlarging & consequently breaking up the image into a collection of modular units, & this served as the immediate visual reference from which the drawing was processed, more than anything an exercise in looking & tonal control, given the subtle differences apparent (barely, at times) between many of the individual squares within the overall grid of the image: the ensuing ‘portrait’ is a by-product, although significant in the context of the project as (if) it develops.

Although the original sticker & its portrait image was/is printed in colour, the decision was taken to work from a black & white reproduction for two significant reasons: firstly, in the context of memory, I have no recollection of a footballer such as, in this instance, Norberto Alonso, & thus a monochrome representation seems appropriate (those players I do remember are intended to be represented in colour, to suggest something more vivid); secondly, I experienced the 1974 World Cup - &, indeed, the 1978 tournament – via the medium of black & white television, & this thus constitutes a distinct ‘hauntological’ dimension to the project.

Such an approach to the representation of the human face from a photographic source most obviously references the practice of Chuck Close, as might be appreciated from the following images, a drawing & watercolour, taken from Martin Friedman’s ‘Close Reading: Chuck Close and the Artist Portrait’, a much-revisited source of fascination & inspiration.


Vic Godard & Subway Sect ‘What’s the Matter, Boy?’
Broadcast ‘Ha Ha Sound’
Bat For Lashes ‘Fur and Gold’
Cornershop ‘When I Was Born for the 7th Time’

Wednesday, October 24, 2012

Having a Re-think/Re-draw #3: World Cup '74 #3 (Ruben Ayala)

coloured pencil & putty eraser/30x20cm

Presenting the third in the series of drawings based upon, & as the initial point of reference, the stamp/sticker collections issued by FKS & Panini to celebrate the then-upcoming 1974 football World Cup, ‘hauntologically’-rich objects & repositories of memories of the time (specifically, & more generally of the decade of childhood-into-youth).

The immediate visual source from which the drawing was processed was actually an A4 colour print of a digital scan of the original stamp, this image thus considerably scaled-up & consequently significantly pixelated, breaking up into a horizontal-vertical grid of constituent squares of an individual & somewhat ‘unmixed’ nature in terms of colour (like digital ‘pointillism’) which in turn impacts upon the mark-making & appearance of the drawing, which attempts an interpretation rather than a slavish copying.

The subject of the drawing process thus resolves itself into a representation, filtered through time as it were, of Ruben Ayala of the Argentinian squad, one of those names/players I do actually recall from watching the televised coverage of the tournament, cutting a rather distinctive figure as he did with his dark, flowing locks & scoring the third goal in Argentina’s 4 - 1 First Round victory over Haiti.

Also presented is an image of the drawing at the point to which it had progressed at the time of the re-think a couple of Saturdays ago, done in the original style, thus allowing something of a comparison between the old & new approaches.

Thursday, October 18, 2012


In the traditional manner in which serendipity has occurred here at TOoT, on numerous occasions in the past, so flattened drinks cans (reformed thus, one might assume, as ‘roadkill’) have returned to consciousness thricefold recently.

In the first instance, one was found & considered to be suitable enough object-matter for a return to drawing such that a drawing was duly embarked upon, before a pause occurred allowing reflection upon the efficacy of continuing such an endeavour (essentially, this concerned matters of available daylight hours, & the seasonally dwindling nature of, in which to pursue what would be such a labour-intensive task involving not only the representation of the crumpled surface of the can but also that of the sheet of paper upon which it had been placed for the purposes of active contemplation of both): photographic evidence of the decisively abandoned/postponed circumstances is hereby presented.

Following this, it came to my attention but a few days later that, amongst the selected work on exhibition at the John Moores Painting Prize 2012, was a painting by Laura Keeble, entitled "I’d like to teach the world to sing!" made upon the support of a flattened Cola-Cola can (to be found amongst an online gallery of the exhibition, & also, with a brief explanation of its coming-into-being & in the company of two similar works, at the artist’s website here).

The very next evening, A & I happened to be visiting a local theatre where the cultural produce currently showing included a substantial retrospective exhibition of the work of a number of years of Wales-based artist Terry Setch, featuring, amongst other subject/object matter, representations (as elements within compositions in the form of large scale digital prints) & actual examples of such found detritus embedded within mixed media polythene-sealed paintings-collages-objects, most striking ‘pictures’ indeed.

Suddenly, following a period of hibernation, flattened cans – ‘my’ flattened cans, ever-deferred at the point of embarkation upon a ‘big project’ - were everywhere to be seen!

Sunday, October 14, 2012

Having a Re-think/Re-draw #2: World Cup '74 #2 v2

coloured pencil & putty eraser/30x20cm

With reference to the previous post, this is the second of the World Cup '74 football stamps/stickers collection-sourced images to be re-drawn, with immediate recourse to an A4 colour print of a digital representation of the original stamp, its image consequently enlarged to the point of significant pixelation, which appearance informs that of the drawing.


Nick Cave & the Bad Seeds 'Abattoir Blues' & 'The Lyre of Orpheus'
Sol Seppy 'The Bells of 1 2'
Moon Wiring Club 'Striped Paint for the Last Post'

Saturday, October 13, 2012

Having a Re-think/Re-draw: World Cup '74 #1 v2

coloured pencil & putty eraser/30x20cm

Halfway through the third drawing of the new ‘project’, perhaps due to this being scattered frustratingly across unsatisfactorily short sessions & days, the critical thought occurred that to continue in such style would itself be unsatisfactory & that something thus needed to be done, to change.

That something was influenced, it must be credited, by Mr Ian Hodgson’s work concerning the Moon Wiring Club, during a ‘whimsical’ visit to the Blank Workshop & the ‘Discography’ section of the website in particular, opening as it does with an image of the cover art for the debut single ‘I’m More Than a Memory Now’, featuring in crudely pixelated form what is still recognizably a portrait of a female face, as might be appreciated:

By way of coincidence, one of the visual (re)sources being used for the basis of the drawings, for plotting form & features, has been A4 prints of digital versions of the original FKS & Panini album stickers/stamps, the images pixelating as they are enlarged to such scale.

The ‘memory’ in the title is highly significant too, as it relates to the nascent project, in that the 1974 World Cup tournament constitutes my earliest memories of (taking an interest in) football, as mentioned, that, however vividly ‘hauntological’ the sticker albums that form the initial, essential level of source material may be, are inevitably subject to & filtered through many layers of loss, over the course of the 38 years that have lapsed since the completion took place, was ‘live’ & ‘now’, & the pixelated image represents such haziness & ‘interference’ perfectly: certain names might remain, as do recollections of watching particular matches – the Final, West Germany versus Sweden on a Sunday evening before school again on the Monday, the latter part of the hosts, again, v Poland upon returning home from school one afternoon, Holland v Brazil – but much has inevitably passed into generality.

Thus the appearance of this drawing is informed primarily by that of its direct source, the A4 colour print taken of a digital image of the original stamp, in its album, enlarged substantially from such source & therefore pixelating rather significantly in the process.
The pixel being a modular unit, of course, implies the arrangement of multiples in the form of a grid, our old modernist-minimalist friend of yore, & this is indeed the case with the source: the drawing, less rigorously, is influenced by this rather than slavishly imitating, at least in this reworked instance, & thus takes the form of a network of horizontal, vertical & ‘square’ marks that acknowledge the source, as does the range of colours used, where a distinct yellowing/pinking into individual unmixed modules occurs in the transition from smooth printed original to pixelated image.

This process being the formal subject of the drawing, the portrait subject then comes to resemble, again but in a different style, the first member of the Argentina squad to be represented, alphabetically, in the FKS album, Norberto Alonso.

Monday, October 08, 2012

World Cup '74 #2 (Roque Avallay)

coloured pencil & putty eraser/30x20cm

Surprisingly hot on the heels of the previous drawing (although keeping up a rate of production that should be necessary for the proposed ‘Project’ to take any such form) comes a second processed from the visual source material of a combination of an original stamp from the FKS-published collectors’ album ‘Wonderful World of Soccer Stars World Cup 1974’ & an enlarged, A4 photocopy of, this time featuring the second member of the imagined Argentinian squad, alphabetically arranged, one Roque Avallay, who, in common with the initial/preceding player, was subsequently not actually chosen to represent his country at the tournament.
This being the case, & personal memories of the first real football action in which I took an interest being rather hazy in most of the particularities, although a few of the ‘exotic’ names have stuck, the ‘hauntological’ aspect of such a drawing relates to the generality of the 1974 World Cup rather than anything other pertaining to the portrait subject himself (of whom I’ve never previously even heard), but nonetheless the source material is most evocative & is imbued with its own especial vividness, even at almost 40 years’ distance.

Sunday, October 07, 2012

World Cup '74 #1 (Norberto Alonso)

Today the opposite of tomato is 'the jagged metal bad-life'

coloured pencil & putty eraser/30x20cm

Presenting today what is intended, ambitiously, to be but the first of a series of drawings processed from a combination of closely-related source material, being the sticker/stamp collections contained within two albums issued to celebrate the then-upcoming 1974 football World Cup, FKS’s ‘Wonderful World of Soccer Stars World Cup 1974’ in all its original glory & the reproduction of Panini’s ‘Munchen 1974’, as have previously featured, relatively recently, & been duly enthused about as iconic examples & objects of nostalgic delight.

To reiterate, the portraits of then-contemporary footballers depicted upon these (sets of) stickers are imbued with a ‘hauntological’ quality that exerts an irresistible attraction – essentially the 1974 World Cup, with all its international glamour & intriguing names, was the point at which I belatedly, at least compared to school peers, developed an interest in & passion for football - hence their suitability, their insistence, in providing the visual matter from which to proceed with the planned drawing project.

The format the drawings, individually & as a series(-to-be), (will) take, is based upon a combination of the source stickers & album designs, primarily utilizing the portraits in the FKS album, replacing these with their Panini counterparts or alternatives when & where the latter might prove more appropriate to purposes.
The FKS album features regular squads of 16 players for each of the 16 competing nations (plus the inclusion of a 17th country, Spain, who had yet to settle the outcome of their play-off with subsequently-victorious Yugoslavia at the time the album went to press, evidently some time before the Finals took place), whereas the Panini album adopted a more ‘hierarchical’ approach, featuring 20 players to represent the powerhouses of West Germany (the hosts & subsequently winners), Brazil (the reigning champions) & Italy, 14 for 10 other countries & but 6 for the newcomer-‘minnows’ Australia, Haiti & Zaire: the ‘project’ as envisaged will follow the FKS pattern of 16 x 16 portrait drawings, but then might possibly expand to take in a further selection based on the Panini album’s inclusion of ‘excluded teams’ (i.e nations who failed to qualify for the tournament, such as Spain, & on this occasion England).

The first subject therefore, alphabetically the first player representing the first featured nation, is Norberto Alonso of Argentina who actually, it transpired, failed to make his country’s World Cup squad as subsequently chosen: an interesting side issue of the project is to compare the players depicted by the albums’ publishers with the official list of the 1974 squad, to note the omissions & replacements – one notes that such Argentinians as Carlos Babington & Rene Houseman, whose surnames seem to imply something of an English heritage & became fixed in the memory, are absent from the albums’ squads yet went on to appear at the tournament.
Nonetheless, the project will endeavour to represent the portraits as featured on the stamps & stickers, irrespective of whether the subjects were included in the actual playing squads, as finalized, for the competition.

Technically, as coloured pencil has become the most oft-used drawing medium over recent months, & given the nature of the coloured reproductions upon the source albums’ stamps/stickers, the process will be carried out using such means, which somehow seems appropriate for a project so rooted in childhood memory, being tools associated with drawing during such times. The immediate visual source for the drawings is a photocopy of the image from the album, enlarged by about 50%, with recourse also to the actual stamps/stickers themselves – these reproductions of reproductions inevitably experience some degree of colour difference in the process, & the ‘re-mediated’ drawings’ appearance is obviously informed by this.


Moon Wiring Club ‘Clutch it Like a Gonk’ & ‘A Spare Tabby at the Cat’s Wedding’
PiL ‘Metal Box’

A PiL sandwich, with the autumnal sounds of the Moon Wiring Club either side: mmm...most nourishing & satisfying.

Thursday, September 27, 2012

Seventies Style

Today the Opposite of Tomato is 'Automatically Yours'

graphite & putty eraser/30x20cm

Considering what a nigglingly slow month September has been here at TOoT, following a pleasingly productive few months’ practice, it’s something of a relief to be able to present this latest drawing, processed from the source of an enlarged photocopy taken from a photograph as printed in the ‘Official Football League Yearbook 1972 – 73’ of a delightful image, circa 1971, the subject of which features a young Kevin Keegan, pictured quite possibly just after having joined Liverpool during the May of that year, in the company of his manager Bill Shankly: Shankly had achieved something of iconic status with his achievements with Liverpool over the course of the previous decade, & Keegan was then on the cusp of doing similarly in the Seventies, transcending the confines of football/sport in the process to the extent of indulging in singing & advertising 'careers'.
Coincidentally, Kevin Keegan also played a central role in the first football match in which I ever took an interest, scoring twice for Liverpool in their comprehensive 3 - 0 victory over Newcastle United in the 1974 FA Cup Final, which televisual experience I immediately processed into drawing, as mentioned previously when I began this year's sequence of football-themed drawings back in February.
As ever, the magical attraction of the original image is to be found in the charm of its period details, which now seem to provide an undeniable sense of comfort: Keegan’s fashionable hairstyle, extravagant sideburns & tank top in particular, but also Shanks’s macintosh raincoat, which any number of managers (& the Prime Minister Harold Wilson) seemed to sport back in the day.

Subsequent pictorial research has led to the discovery online of another image from the photo-shoot that produced the source for the drawing, but this one in colour, adding substance to one’s imaginings based upon the monochrome ‘original’: interesting to observe that Kev was sporting a most harmonious & rather fetching ensemble of various hues & tones of blue (slightly disappointingly, as one dreams of the tank top’s stripes being multi-coloured, in the manner of Paul McCartney’s psychedelic number from The Beatles‘Magical Mystery Tour’ film, as disinterred for reappraisal in Tuesday’s ‘Guardian’), along with – oh yes – those classic heels, & also that Shanks’s shirt (rather than pony) is a surprisingly dandyish pale pink – not necessarily unusual for the man, though, as one seems to recall him wearing shirts of various colours, such as orange, & red, on other occasions, an old school figure who could still swing with the times.




The ‘should have been’ is obviously Kevin Keegan’s "Head Over Heels in Love" (blimey, those weren’t necessarily the days) & The Smiths’ wonderful, mordant ‘Frankly, Mr Shankly’, but, in actuality, we instead indulged in the mellow sounds of Lambchop’s ‘Is a Woman’ & then, by way of variety, The Pastels’ equally enduringly-wonderful ‘Up For a Bit With…’, before, continuing, a late night session devoted to the drawing process was accompanied by Nick Cave & the Bad Seeds' ‘The Boatman’s Call’, returning to a more reflective mood appropriate to the hour.

Friday, September 21, 2012

Old School #4

coloured pencil & putty eraser/20x30cm

Presenting what has eventually resolved itself, over the period of a couple of months in a new slow-mo record even for TOoT, into the fourth of what has become the occasional series of drawings based upon imagery sourced from Old School Panini of scans of collectable stickers of French footballers circa 1976, the particular attraction of the chosen ones being the impressive moustaches they are seen to be sporting in their portrait photographs, of which the subject Jean-Pierre Posca(‘s) is another fine example.

As with the previous drawings in this series, this one was processed with immediate visual reference to an A4 colour print of the digitally scanned image from the original sticker print: again, a certain loss of pictorial fidelity is experienced by the time this physical point is reached, not least in terms of an apparent artificiality of colour, which informs the appearance of the drawing.

The inveterate & inevitable light research the portrait subject, any little facts & figures or anecdotes that provide something of a hinterland behind the purely visual, has on this occasion revealed that, sadly, Jean-Pierre Posca, a fondly-regarded stalwart of Sochaux, in common with some of the group of 1970-ish English footballers portrayed in graphite earlier this year, died what might be regarded as being rather young, having passed away on New Year’s Day of 2010, again emphasizing the melancholy inherent in the photographic image, & perhaps too the drawing process, communicating the passing of time as it records & preserves it in physical form.

Monday, September 17, 2012

Country House Living...

A weekend jaunt into Mid-Wales facilitated an unexpected encounter with some rather fine art, of an early 20th century vintage & being the personal collection of the late Sir Bernard Ashley, as hung on various of the walls of Llangoed Hall.

How pleasant it was to encounter, over the fireplace of the Drawing Room, whilst enjoying a welcome pot of tea after the journey, & have the opportunity to study & admire a landscape (above) by FCB Cadell (one assumes of Iona, given the similarity of the depicted scene to others painted in the same location by the artist) & discovering in the Games Room during a later stroll around the house, a portrait of a rather dandy top-hatted gentleman (below) by another of the so-called 'Scottish Colourists', JD Fergusson.

Also to be seen were a number of drawings, including an Augustus John nude study (below) &, although they were inaccessible due to an event, alas, a suite numbering over 20 by Whistler.

There was also work by familiar names such as Sickert, Harold Gilman, & Laura Knight, & a collection of fine oil portraits in that painterly ‘Sargentesque’ Edwardian style, including, below, this dark study of a life-sized gentleman, by Hermann Murphy, hanging on the wall by the door to A’s & my room – all in all, a most aesthetic treat.

Wednesday, September 12, 2012

Drawing on Memory...

coloured pencil & putty eraser/20x30cm

Following on from a recent post extolling the virtues of the live sound, as experienced, of Vic Godard & Subway Sect, I was thus inspired, albeit somewhat after the fact (but that, in ‘slow’ mode, is the habitual TOoT way), to seek out a photographic image of Vic from which to process a drawing in appreciative recognition of having enjoyed such entertainment & the great man’s talents.

Emerging, then, from the plethora of marks made, with coloured pencil (a quite recalcitrant & thus more labour-intensive medium than most, but of course it’s all about the work of art), the drawing process results in a representation of the figure of Vic Godard in performance, with guitar, the form of his face described colourfully spot- & high-lit in the manner of the Expressionist portraits of Karl Schmidt-Rottluff, for example – the whole image, indeed, being saturated with an intensity of artificial hues, which feature informs the (endeavours of the) drawing in turn.

Regarding, incidentally, matters of sartorial style, it might be noted that Vic is seen here favouring what might be described as the artist-known-as-TOoT’s signature style or traditional dress, on or off-duty, of shirt, tie & V-necked jumper: old school (as in 'worn from the time of') but always on the money.


With a musical subject providing grist to the drawing mill, it seems most appropriate to reactivate the old 'Soundtrack' feature that has traditionally attached itself to many a post, having been rather remiss in letting the acknowledgement of such habitual & integral accompaniment to the drawing process slide & pass unremarked. For the drawing in question, then, across the course of the various sessions devoted to, we have been listening to, with a few old favourites included (although, despite the presence of a couple of post-punk peers, not actually any Vic Godard & Subway Sect) & making a reappearance:

Scritti Politti ‘White Bread Black Beer’
Belle & Sebastian ‘Write About Love’
Wire ‘The A List’
She & Him ‘Volume Two’
Laura Veirs ‘Year of Meteors’

Thursday, August 30, 2012

Tea(pot) for Two #14: Tea Painting #3

Coloured pencil, graphite, watercolour & tea/30x20cm

This drawing, featuring a depiction of the small, delicate bone china teapot found on a charity stall during a recent trip to Ludlow (& represented using the medium of tea on the very day, as blogged), was colour-washed using two media: watercolour to represent the subtle shadows and reflections playing over the mutable surface of the white glaze of the teapot, & also, over the remainder of the picture plane, tea – again, attempting an integrity of adherence to all things tea & the use of in the realization of the artwork. ‘ArtTeaOlogy’ is the name.

Various types of brewed liquid tea were utilized in the process (including pale white and green, orangey Assam and Darjeeling and the rich browns of other black teas), each having their own particular hue, built up in numerous layers to create the range of tones that constitute the ground of the wooden board and table surface upon which the ceramic object sits, and also those areas of the wall behind that are not covered by the squared-up sheet of paper that acts as a measuring device and proportional guide.

Thursday, August 23, 2012

Tea (Sub) for Two #13: Tea painting #2

coloured pencil, graphite, watercolour & tea/30x20cm

This drawing features the groovy little ‘retromanic’, iconic 'Tea Sub' making another appearance, this time not floating in a white space but anchored to & within the representational spatial environment of the still life 'arena' as observed.

The painting is colour-washed with watercolour for the vivid yellow(s) of the Tea Sub and various types and layers of brewed liquid tea to represent the hues and tones of the wooden board and table surface upon which the object sits, thus, in using tea as a medium in the realization of the artwork, establishing a fundamental link to the 'ArtTeaOlogy' ethos.

Saturday, August 18, 2012

Tea(pot) for Two #12: Tea Painting #1

graphite, coloured pencil, watercolour & tea/30x20cm

This drawing, featuring the oft-studied small Japanese teapot observed in the company of a pair of cups from its matching set (as it was, indeed, on a sequence of occasions almost 5 years ago, from the beginning of September 2007, when I began drawing again as a regular discipline & blogging the results of the process: please scroll down to the bottom of the archive page for evidence), was colour-washed using two media: watercolour to represent the pale blue-grey of the pot & the glaze covering part of the cups, & also, over the remainder of the picture plane, tea: as one of the essential accompaniments to the drawing process, it seems most appropriate that tea should form part of the artwork itself, integral as it is to the ‘ArtTeaOlogical’ philosophy being pursued.

Various types of brewed liquid tea were utilized in the process (including pale green, orangey Assam and the rich browns of black teas), each having their own particular hue, built up in numerous layers to create the range of tones that constitute the ground of the wooden board and table surface upon which the ceramic objects sit, and also those areas of the wall behind that are not covered by the squared-up sheet of paper that acts as a measuring device and proportional guide, in something of an on-going homage to Euan Uglow.

Wednesday, August 15, 2012

'ArtTeaOlogy' Goes Live

The Opposite of Tomato is today able to announce the opening, via Etsy, of 'ArtTeaOlogy' the online store: happy shopping.

Tuesday, August 14, 2012

Tea(pot) for Two #11

coloured pencil, graphite & putty eraser/30x21cm

This drawing expands the formal repertoire of the summer’s teapot series by incorporating a representative description of the spatial environment in which the object is situated for observation, including the close-toned & similarly-hued horizontal planes of the circular wooden board & table top, which contrast nicely with the pale grey & blue of the crackle-glazed teapot, & the vertical plane of the wall behind that delimits the recessive depth of the space, upon which has been tacked a squared-up sheet of paper that acts as a form of measuring device to aid the drawing of the object(s).

Such a formal device owes something of a debt of influence & inspiration to the work of Euan Uglow, of course, an artist much admired here at TOoT as regular readers might be aware, whose measured approach was a significant feature of his ever-compelling practice.

Frequent recourse is made to the essential 'Euan Uglow: the Complete Paintings’ in the interests of visual research & here, in a scene from the studio, we see Pickle the cat in close proximity to the very volume: she may appear to be sleeping, as is often her wont, but one prefers to imagine that she is instead engaged in Zen-like contemplation of art...

Sunday, August 12, 2012

Catching Up With Vic

An invitation to Telford’s Warehouse in Chester to attend a celebration last night in honour of the venerable Mr Williamcheese’s upcoming ‘significant number’ birthday offered the opportunity also to witness & greatly enjoy a live performance by Vic Godard & Subway Sect, a band I’d previously seen & heard way back in the day some rather incredible-to-consider (with a slight shudder) 31 years ago, sandwiched, miscast then most inappropriately between the gothic melodramas of The Birthday Party & Bauhaus at the Royal Court in Liverpool (as mentioned here in the recesses of the archive).

On this particular occasion, Vic & cohorts were able to entertain, in a more intimate setting, a small but more appreciative audience with a selection of tunes from a career-spanning repertoire (dating thus from circa 1976) of Northern Soul-inflected yet angular, detouring post-punk toe-tappers – scratchy, trebly guitars, cheesy organ, sometimes off-key vocals & all - & a splendid job they made of it too, cooking up a rare old storm in suitably idiosyncratic fashion.
I must admit to finding such a sound enduringly charming & ‘homely’, it’s a place I know – am, indeed, ‘from’ - & have an abiding affection for, & Vic Godard & Subway Sect’s sheer persistence in ploughing their own particular furrow is to be much admired.
Inspired to research Simon Reynolds' essential ‘Rip It Up’, it was a pleasure to read again too the author’s & Vic’s words on the subject of his artistic philosophy, his influences, his commitment to his cause, his anti-star stance: it’s all good stuff, & thanks for a great gig & respect are due.

Update: September 12th 2012

After the fact, a drawing has been processed, re-mediated from a print of a photographic image of Vic Godard performing live, with accompanying text here:

coloured pencil & putty eraser/20x30cm

Tuesday, August 07, 2012

Tea for Two #10 (Tea Sub) (Revisited)

graphite & watercolour/30x20cm

This latest drawing in the tea-themed ‘ArtTeaOlogical’ summer series depicts, through the process, another item of tea paraphernalia &, in so doing, revisits a subject already explored in very similar fashion on an occasion during November of last year, thus, it might reasonably be said, adding another layer to the ‘retromania’ already embodied in the object itself.

Whatever, the Beatles-inspired yellow submarine ‘Tea Sub’ infuser is again represented in the manner it suggests, liberated from its actual spatial environment as observed, resting upon a horizontal plane, and instead floating in and navigating a pure white space, somehow more romantic as befits the imaginative subject matter.

Saturday, August 04, 2012

Tea for Two #9 (Tea Temples)

coloured pencil & putty eraser/30x20cm

This drawing – the latest in the summer’s tea-themed series in the interests of ‘ArtTeaOlogy’ - depicts a scattered arrangement of another item of tea paraphernalia (indeed, an essential one) in the form of teapigs' 'tea temples', which seems a most appropriately reverent name for receptacles containing the precious tea leaves themselves.

The 'temples' are pyramid-shaped bags of a silky mesh material that allows a slightly misty view of the tea within, in this case a selection of three types - (from left to right) chamomile flowers, rooibos and popcorn tea - all of which were brewed and enjoyed before collecting the used, re-dried bags for the purposes of studying & drawing, attempting in the process of doing so to capture the essence of the fine, delicate objects as observed, and represented within a contemplative pure, white space.

Tuesday, July 31, 2012

Tea(pots) for Two #8

coloured pencil & putty eraser/42x30cm

Both TOoT & 'ArtTeaOlogy' must admit a fondness for fine examples of 1960s - 1970s design in many of its forms, the natural continuation of our abiding attachment to Mid-Century Modernism, and Hornsea Pottery's mid-70s 'Heirloom' patterned range of ceramics have recently found their way onto the 'collectable' radar as objects of desire to be acquired for the home, to both serve a functional purpose in our daily life and be aesthetically appreciated in the process.

This larger-than-usual A3-scale drawing features a composition of the tea and coffee pots from the 'Heirloom' collection, distinctive in their form and the design adorning them, which proved a particular challenge to represent (‘it’, of course, being what the making of art is all about), not one it would be overly tempting to repeat, at least in the immediate aftermath of the process. Again, the objects are depicted within the now-familiar wood surfaced 'arena'.

Monday, July 23, 2012

Tea(pot) for Two #7

coloured pencil & putty eraser/30x20cm

A recent present from A of an exquisite glass teapot provided the object matter for this particular drawing, the most recent in the summer’s tea-themed series, & the challenge – historically & traditionally one of still life’s staples - in representing its delicate form as described by the fleeting play of light & reflection of subtle colours upon its surface & also, incidentally, that of the immediate environment of the wooden ‘arena’ upon which it is placed & within which it is observed & depicted.

The transparency of the glass pot also allows the depiction of some tea within, of course – ever an essential accompaniment to the drawing process.

Saturday, July 21, 2012

Tea(pot) for Two #6

coloured pencil & putty eraser/30x20cm

Presenting the sixth in the summer’s series of teapot drawings, the objects observed from life & pictorially composed within/around the formal device of a circular arena.
The subject in this particular instance is the pairing of a pea green Japanese bamboo-handled teapot & an accompanying mug, attempting to communicate, via the ‘exploratory’ medium of coloured pencils, a sense of solidity of form &, more elusively perhaps, something of the nature of the objects’ surface glaze, as a natural light source plays across them & highlights & reflections occur.

Wednesday, July 18, 2012

Tea(pot) for Two #5

coloured pencil & puty eraser/30x20cm

Presenting another variation on the Japanese teapot theme, in the interests of an exploration of the medium of coloured pencils & 'ArtTeaOlogy', persisting with the formal device of locating the object(s) within a circular 'arena': it's hardly Francis Bacon, but...

The particular pot & cup, as depicted, a striking pair indeed with their black & red glazes, were introduced into the collective fold by A, fellow 'ArtTeaOlogist' & possessor of exquisite aesthetic taste, of course.

Sunday, July 15, 2012

Old School #3

coloured pencil & putty eraser/20x30cm

Returning to the football after the recent break for tea(pots), & presenting the third in the putative series of drawings of impressively-extravagantly-moustachioed footballers plying their trade in the French League circa 1976, sourced from images of original stickers available at the delightful ‘Old School Panini’ website.

As with the previous example, the drawing was processed using a variety of found coloured pencils & also some from a newly-acquired ‘proper’ set, with an A4 colour print of the image as saved from ‘OSP’ & scaled-up – experiencing certain losses of pictorial fidelity in translation from screen to page(s) along the way - serving as the immediate physical reference: again, various levels of representation, of re-mediation, from the original printed sticker, as object, to the drawing, are involved, influencing & informing the appearance of the latter, not least in terms of (artificiality of) colour.

The portrait subject of the drawing, a rather debonair Monsieur Raymond Domenech as he appeared during his playing career, might be said to be more famous, or notorious, now for his ’managerial’ role nominally in charge of the mutinous 2010 World Cup French squad, a trait made topical again by certain recidivist tendencies as revealed within the recent 2012 European Championship, as France once again seemed to implode as the tournament progressed.

Saturday, July 14, 2012

Tea(pot) for Two #4

coloured pencil & putty eraser/30x20cm

Here again is a coloured pencil interpretation of the small pale blue-grey Japanese teapot as has featured previously, both via this same & other drawing media, on this occasion as an independent object itself, compositionally arranged upon & within the now-familiar wood effect circular 'arena'.

Tuesday, July 10, 2012

Tea(pot) for Two #3

coloured pencil & putty eraser/30x20cm

(Re)presenting the third in the series of teapot drawings to be processed in the intended interests of 'ArtTeaOlogy', this Japanese-style object displaying rather more vivid colour along with another variation in form.

Sunday, July 08, 2012

Tea(pot) for Two #2

coloured pencil/30x20cm

A second intended 'ArtTeaOlogical' exploration in coloured pencil of another recently-acquired & rather beautifully minimalist Japanese teapot, as previously featured represented via the medium of tea itself.