graphite & putty eraser/30x20cm
A second portrait sourced directly from an enlarged photocopy of an image found in a ‘gallery’ feature in one of the recently-acquired late 60s – early 70s football annuals, the subject of course being the drawing process itself over & above what/whom might result from & come to be depicted, although the name Eddie Colquhoun does have its own significance in inspiring a certain nostalgia from & for the period when I began developing an interest in football, his playing career, with Sheffield United for whom he was indeed a stalwart in the finest traditions, continuing into the first few years of such.
As with the previous example, the original image displays its own particular aesthetic, with an ambiguity of certain detail & a highish-contrast tonal range resulting from the physical circumstances in which the subject was photographed, squinting into strong sunlight, this ultimately informing the drawing processed from the subsequent reduced-quality photocopy.
By another of those occurrences of serendipity, a visit to the theatre to enjoy a rather fine performance of Ibsen’s ‘A Doll’s House’ also afforded the opportunity to peruse an extensive exhibition of the paintings of Alan Salisbury, ‘Revisiting Traditions’, freely appropriating from the history of art in his own idiosyncratic manner across a range of subject-matter & including the football-themed series ‘The Art of Goalkeeping’ & 'Commedia del Goalie', examples of which work might be found here within the galleries of the artist’s website: intriguingly 'iconic' stuff, given both the subject matter, its incorporation into the classical, academic forms of art, & the collaged nature of the physical works themselves.
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