Thursday, December 19, 2019

Doubling- and Tripling-up on the Portraits




‘Nick and Gabrielle Drake, 1971’
graphite and putty eraser on ‘Seawhite’ cartridge paper/30 x 42cm


Having laid firm foundations and taken root now, the Seventies project continues, on this occasion with an invented double portrait, of brother and sister Nick and Gabrielle Drake as they appeared, independently, in 1971 - Nick as photographed for and depicted on the sleeve of his ‘Bryter Layter’ LP and Gabrielle in costume for a promotional image for the ‘UFO’ television series in which she occasionally featured that and the preceding year (see also previous entry).

Following that, a triple portrait, of the actors Tony Anholt, Robert Vaughn and Nyree Dawn Porter as they appeared in character as Paul Buchet, Harry Rule and Contessa Caroline di Contini - ‘The Protectors’, an international crime-fighting agency/team, another television series I recall watching and obviously enjoying as a boy in the early Seventies, which, it transpires, was another Gerry Anderson (co-)production, following on from ‘UFO’. This programme also had a particularly memorable theme tune, ‘Avenues and Alleyways’  - performed by Tony Christie, who had numerous hit records around that time - which is probably something that should also be acknowledged within the scope of the project...



‘The Protectors’
graphite and putty eraser on ‘Seawhite’ cartridge paper/42 x 30cm

Thursday, December 05, 2019

Adventures in Sci-Fi




'UFO'
Graphite and putty eraser on 'Seawhite' cartridge paper/42 x 30cm (A3)

Following on from the previous entry, the drawing above also features among its cast of human subjects the actress Gabrielle Drake, on this occasion represented in character as ‘Lt. (Gay) Ellis’ as she appeared in the early 1970s British television series ‘UFO’, which I recall as being a particular favourite of my young self at the time, quite possibly to the point of obsession, as I know I numbered among my substantial collection of ‘Dinky’ toy cars (a definite obsession) the range of three vehicles that were merchandised from the show, including the gold car of the platinum blond 'Commander Ed Straker' (played by Ed Bishop), who forms the central figure of the trio depicted. The portrait to the right is of the magnificently and memorably-named Vladek Sheybal, in his role of ‘Dr Doug Jackson’, who, in a curious coincidence, is recorded as appearing in 10 episodes of the total of 26 produced, as is/was Gabrielle Drake, who I must admit I had no recollection of, unlike her role in the previously-referenced ‘Kelly Monteith Show’: apparently, Drake and Sheybal only featured in 2 episodes together, 1970’s ‘Kill Straker!’ and the following year’s ‘Ordeal’.
I think it’s highly-probable that the attraction to Vladek Sheybal’s name was the precursor to my undimmed devotion to those of East European football clubs, easily imaginable as it is that it should belong to, for example, the surprise Bulgarian Cup winners of 1973 who subsequently made an obscure appearance in the following season’s European Cup-Winners’ Cup, perhaps going out of that much-missed competition after a hard-fought and unlucky defeat to AC Milan at the Second Round stage.
Whatever, ‘UFO’, however deeply buried in the recesses of the mind and undisturbed for many years, maintains its presence in the memory and the Seventies project has allowed it to see the light of day once again.

By those curious connections the mind whimsically makes, of its own accord, Ed Straker’s dyed blond hair referenced that of Gary Numan, pictured similarly on the cover of Tubeway Army’s ‘Replicas’ LP from 1979. Now, this was something of a surprise at the time as I distinctly recall seeing Tubeway Army making what was quite possibly their debut appearance on ‘Top of the Pops’, performing ‘Are ‘Friends’ Electric?’ one Thursday evening during the Spring of 1979 - it sparked something of a pro/con debate in John Rogers’ English class in school the following morning, I’m back there in the room - featuring a jet black-haired Numan as the front man, and it is this memory that forms the inspiration for the following drawing in the project, represented from a still taken from a still of a ‘Top of the Pops’ broadcast. Vividly remembered days, of youth, indeed.


'Tubeway Army, 'Are 'Friends' Electric?', Top of the Pops', 1979'
Graphite and putty eraser on 'Seawhite' cartridge paper/42 x 30cm (A3)

As an aside, it’s worth mentioning that, despite both of these fond (I suppose) memories, my interest in science fiction withered early and it’s never been rekindled, it’s just one of those things I can find no way into or seem to have any desire to.



Friday, November 22, 2019

Sounds (a bit) Like...




'Gabrielle Drake and Kelly Monteith'
graphite and putty eraser on Seawhite cartridge paper/42 x 30cm (A3)

Continuing the Seventies project and particularly the drawing aspect of, upon which I most definitely seem to be concentrating, quiet a pleasurable turn of events after largely neglecting this area of practice over the last 3 - 4 years in favour of oil painting.
The subject on this occasion represents what might be considered a curious byway but one that nonetheless forms a distinct recollection from the decade, at its cusp with the following one, and which came to mind from a tenuous word-association with a recently-featured figure. From Kenny Dalglish, the name of Kelly Monteith suggested itself, dredged-up from the idiosyncratic reserves of the memory bank and it is the latter personage who is represented as the right-hand aspect of this double portrait, his female companion being the actress Gabrielle Drake, publicising as they would be in the original photograph from which the drawing was processed the BBC TV series ‘The Kelly Monteith Show’, which was first broadcast in 1979. Kelly Monteith was (is) an American comedian who first appeared on UK screens as a guest on the ‘Des O’Connor Show’, wise-cracking his way through a short stand-up routine, before progressing to playing a fictionalised version of himself, an American comedian living in London, sharing a home with his wife Suzanne (Drake), in the eponymous sitcom, flickering briefly across the British consciousness (or some of ours, at least) before disappearing, in the early Eighties, wherever. I do seem to recall something about the show featuring Monteith addressing the audience directly during the course of the programme, as an observer-commentator of/on the narrative, and although this could have been during stand-up segments of any given episode, research seems to suggest that there was an element of ‘fourth wall’-acknowledging to the production that might well have granted a certain ground-breaking aspect to it. A curiosity all-told, but clearly something registered sufficiently for the name at least to have lodged. At the time, of course, I would have had no idea that Gabrielle Drake had had a brother, Nick, who had passed away five years before her co-starring role in the Monteith show and whose music I would come to discover in the later Eighties and love ever since, or, indeed, did not realise that she had featured as a character in numerous episodes of one of my favourite television shows from the beginning of the 1970s, Gerry Anderson’s ‘UFO’...

Tuesday, November 19, 2019

Back in Time



The Seventies project continues here with a slight deviation from its course (which is pretty random!) to take into account a suitable period image of a subject who has ‘enjoyed’ recent topicality. Here is represented Neil Warnock – who last Monday mutually agreed to part ways with his most recent employer – as pictured some time between February 1972 and March 1975, when his football playing career took him to Scunthorpe United ( also the first club of recent subject Kevin Keegan) and long before he came to resemble Mrs Doubtfire: note the hairstyle as being particularly du jour.


‘Neil Warnock, Scunthorpe United (c. 1972 – 75)’
graphite and putty eraser on cartridge paper/30 x 21cm (A4)

Monday, November 18, 2019

Kenny Killed Us...



As mentioned at the conclusion of the previous entry, Kevin Keegan‘s replacement in the Liverpool FC team for the 1977-78 football season was Kenny Dalglish, on whose purchase the club didn’t stint in their pursuit of continued success, as might be gleaned from this portrait published within the pages of the match programme for the Wrexham v Liverpool Football League Cup quarter-final tie played at the Racecourse Ground on Tuesday, 17th January 1978.



This was a match at which I was fortunate to be present, a big occasion and distinct memory in a season of much excitement and great days/nights at Wrexham that season, competing that evening against the reigning domestic and European club champions. Alas, Liverpool and Kenny Dalglish in particular, were  to poop Wrexham’s giant-killing party by inflicting a 3 – 1 defeat not least courtesy of Dalglish scoring all three of his team’s goals, and here the Seventies project continues with a representation of the man celebrating one of his hat-trick during the course of the 90 minutes of the match. As Liverpool supporter John Peel‘s favourite player of the era, there’s thus a link between this and a previous subject to be featured in the project. As also mentioned before, Youtube footage of the highlights of the match and the damage done by Dalglish, is available).


‘Kenny Dalglish, Wrexham v Liverpool, 16/01/78’
Graphite and putty eraser on Seawhite cartidge paper/42 x 30cm (A3)
A tangible souvenir of the occasion, a portal to a variety of memories, here’s an image of the front cover of the match programme and also the rear, featuring the team line-ups, both full of fine players: if only Dixie McNeil, goalscorer par excellence, hadn’t been cup-tied and thus unavailable to represent Wrexham, though…(we can still dream of what might have been).




Tuesday, November 12, 2019

Film and Football



Continuing with the Seventies project and another selection of drawings, the latest to be processed with reference to memories retained from growing up.
First up are a pair of stills from the film (movie) ‘Thunderbolt and Lightfoot’, which I recall seeing on television for the first time (it became what seemed like an annual event for a period of a few early-Eighties’ years) in 1979, sometime around the August Bank Holiday which was also the time John Peel, as featured previously, was mentioning his 40th birthday. I obviously enjoyed the film a great deal, enough to return to watch it numerous times, and can remember in particular its sun-bleached aesthetic and those scenes near the conclusion of the tale featuring a car journey between Clint Eastwood‘s ‘Thunderbolt’ and [spoiler alert] a dying ‘Lightfoot’ (Jeff Bridges, who became a real favourite actor of mine).

'Thunderbolt and Lightfoot #1'
graphite and putty eraser on Seawhite cartridge paper/A3 (42 x 30cm)


'Thunderbolt and Lightfoot #2'
graphite and putty eraser on Seawhite cartridge paper/A3 (42 x 30cm)

Next, a drawing sourced from an original image that graced a number of the front covers of Wrexham FC‘s match programmes towards the latter part of 1977 and which features the central figure of Bobby Shinton celebrating the single goal that defeated Bristol City in a Football League Cup Third Round tie played at the Racecourse Ground on Wednesday 26th October, a match I attended in the company of my father and more than 10,000 other spectators. Shinton, obviously the goalscorer, is accompanied by a couple of teammates, the late Johns Roberts and Lyons, with the dejected opponent being, I think, Gerry Sweeney.


'Bobby Shinton (Wrexham v Bristol City, 26/10/1977)'
graphite and putty eraser on Seawhite cartridge paper/A3 (42 x 30cm)

These were the great days when Third Division Wrexham were bona fide giant killers – Bristol City were enjoying a brief period in the First Division at this time – and would reach the quarter final stage of both the FA and League Cups during the 1977-78 season, the club’s most successful ever when they went on the be crowned champions of Division Three and earn promotion to the heady heights of English football’s second tier for the first and only time in their history before adding the Welsh Cup to the list of honours. The Racecourse became littered with the scalps of the ‘big’ clubs – Bristol City again and then Newcastle United were both treated to 3-goal drubbings in FA Cup tie replays in the new year – and it took the might of European champions Liverpool and a referee-assisted Arsenal to end those glorious cup runs, memories of which remain vivid, welcome as they are in these times of the club plumbing the nadir of their almost 100 years in the national league structure (I could go on…).
The particular significance of the Bobby Shinton drawing is the fact that I made a version of it back in the day, which was published in the art section of the children’s pages of the local (NE Wales) ‘Evening Leader’ newspaper – unfortunately, no tangible evidence of this remains but my parents did retain a cutting of an earlier artistic effort submitted to and published in the same ‘paper, which has subsequently come into my possession and here, accordingly, introduces/precedes the next drawing, one of my then-favourite footballer, Kevin Keegan, pictured here representing Liverpool FC in 1976, when the original drawing was made. Of particular and curious footballing interest, 1976-77 was Keegan’s last season at Liverpool before departing for new continental challenges at SV Hamburg – by the following season, he had been replaced by a player who went on to even greater achievements and legend at Liverpool, Kenny Dalglish, who downed Wrexham with a hat-trick at the Racecourse, another special occasion I was present to witness (and of which there is Youtube footage – never mind the game, look at the state of that vintage Seventies’ pitch!).

(note the Kevin Keegan drawing is credited to a ‘James Roudey’, which is not a misprint but an interpretation by a member of the newspaper staff based on what was obviously my illegible handwriting even then – how typical that I should find a way of taking something of the gloss off a public achievement!)


'Kevin Keegan 1976'
graphite and putty eraser on cartridge paper/A4 (30 x 21cm)







Friday, October 25, 2019

Overdue Update



Continuing with the Seventies’ project, a selection of nostalgic subject matter represented in the form of graphite drawings, another process of which I’m fond and harks back in particular to the decade in question, when drawing was my creative activity and pencil or felt pen was my medium of choice.
The first drawing features an action shot from the FA Cup Final of 1974, played at Wembley Stadium in London and contested between Liverpool and Newcastle United, the former running out convincing 3 – 0 winners over opponents who failed to live up to expectations and hype (‘Supermac’ amongst others who proved to be rather ordinary on the day). This in fact was the first live televised football match I watched or took any interest in, the latter to the extent that I made a drawing at the time, in the moment, in felt pen, being also the first drawing  I have any recollection of making, in felt pen and concentrating particularly on rendering the thousands of faces/heads in the crowd (the attendance was 100,000 – the capacity of the ground), which obviously impressed/amazed my then 9-year-old self to the exclusion of much else, something borne out by a memory of my father, when appraising my efforts later, enquiring whether perhaps Newcastle didn’t sport vertically-striped shirts rather than the hoops I’d represented!
Anyway, here we observe Liverpool’s Kevin Keegan, probably the star of the match, hurdling a tackle by Newcastle’s number 3 Alan Kennedy (who later played for Liverpool with considerable distinction, including the scoring of two European Cup-winning goals), with the latter’s teammate Terry Hibbitt also in attendance. Admire, if nothing else, the luxuriousness of those sideburns, very much the facial hair du jour.

‘1974 FA Cup Final’
graphite and putty eraser on Seawhite cartridge paper/30 x 42cm (A3)
Next is (re)presented the mighty John Peel, the late night Radio One DJ who brought punk, post-punk and so much other music to our eager young ears, desperate for inspiration, in the late Seventies and then for a further 25 years until his untimely death in 2004 (this very day marking the anniversary of, indeed, so here’s a personal tribute). I recall I started listening to Peel in the summer of 1979, very probably at a school friend’s insistent recommendation, and could write at great length about  the influence he had, in not just musical but broader cultural and philosophical terms, but for now here’s the drawing, of the man at a mixing desk.

‘John Peel c.1979’
graphite and putty eraser on Seawhite cartridge paper/30 x 42cm (A3)
Finally for this update, another figure from the world of broadcasting, and ITV’s Saturday afternoon ‘World of Sport’, the iconic and legendary Dickie Davies, at his dapper and groomed finest. ‘World of Sport’ was something I remember being on TV at my paternal grandparents’ home even before I started watching it myself once I’d quickly developed an obsession with football (see above), beginning as it did with the preview magazine ‘On the Ball’ and covering the afternoon until the final scores were in – as something of a more louche relation to the BBC’s ‘Grandstand’, all manner of more obscure sports were featured, most iconically perhaps wrestling, and these are the memories that resonate down the years, with Dickie the genial host. Of course, many of us British viewers will also recall Benny Hill’s spoofs of Dickie Davies, but here’s the man himself, seated at ‘home’ in the World of Sport studio with its also iconic logo.

‘Dickie Davies: World of Sport’
graphite and putty eraser on Seawhite cartridge paper/30 x 42cm (A3)

Thursday, September 19, 2019

More Nostalgia




'Seventies Project 3: Death Disco 7-inch Picture Sleeve'
oil on canvas/25 x 25cm/September 2019

More from the 1970s-themed project, with another object from the decade providing grist to the painting mill. On this occasion, the source material is, in effect, an item of packaging material, being the cardboard ‘picture sleeve’ housing an object within, a seven-inch vinyl 45rpm ‘single’ featuring Public Image Ltd’s ‘Death Disco’ as its A-side, coupled with ‘No Birds Do Sing’ on the reverse. Dating from 1979, this item thus signifies and encapsulates that latter part of the designated period when I’d reached my nascent post-punk music-obsessive stage that has endured and remained influential since, not least in the current circumstance.

Back in the day, as an aspiring artist/graphic designer and as something I’d started to do often, given the source material I was being attracted to, acquiring and becoming familiar with, this is undoubtedly a record cover I would have copied in drawing form, both the strange, compellingly gruesome image and the text, probably on a number of occasions, so the present painting as made constitutes an update of this process, this time presenting an object of a certain time-worn vintage that happens to feature an image and text upon its surface as a still life. Both the image, which research has unfortunately failed to establish an original artist to give credit to, and the music contained within, particularly ‘Death Disco’ itself, remain, forty years on, striking, harsh and uncompromising, suitably complementary in appearance and sound, and they provide a potent link back to their time.



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Wednesday, September 04, 2019

What We Did On Our Holidays

Today the opposite of tomato is more or less a wide slice of the action.

Beginning with a continuation of the ‘Spectral Stone Circles’ and featuring numbers 2 to 5 in that particular series, which, following the initial snowswept example, has taken a turn into misty environments that are best described as being not necessarily invented or generic but, rather, based on and adapted from observation of or sketches (sometimes historical) of actual locations, for example a local woodland. The circles themselves are composed of stone chippings approximately 8 - 10cm in height, collected on various perambulations, chosen for efficacy and arranged in circular form on the back lawn at home and photographed/sketched in situ, thus being both invented and real as, in effect, are the resulting paintings. Small in scale (all being 12” x 16”), the surfaces are all considerably more thinly painted than had become the norm with previous landscape/’woodscape’ subject matter although hopefully retain certain physical attributes that establish them as paintings.

'Spectral Stone Circle #2'
oil on canvas/16 x 12"/June 2019

'Spectral Stone Circle #3'
oil on canvas/16 x 12"/July 2019

'Spectral Stone Circle #4'
oil on canvas/16 x 12"/July 2019

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'Spectral Stone Circle #5'
oil on canvas/16 x 12"/July 2019

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The next painting continues with the ‘invented’ stone circle theme but, following a short break in the Shropshire countryside, departs from the ‘spectral’ and instead presents something that might be said to tend towards the picturesque, in keeping with the bucolic setting, which is in fact a view of the approximately 15 miles-distant Wrekin from an empty field in the Pulverbatch area, sketched on the spot which then provided suitable reference for the painting to proceed once back in the studio at home.

'Imaginary Stone Circle: a Field in Shropshire'
oil on canvas10016 x 75cm/August 2019

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As summer began to dwindle, I then had the notion to begin a nostalgic project based on subject matter familiar from a 1970s British childhood, intended to encompass anything that might be redolent of the period, beginning with a couple of objects that are further grist to the Uglowian mill in providing different materials and surfaces to represent in the individual forms of a carved wooden antelope and one of the Homepride ‘Fred’ flour-grader figures that have made numerous appearances in paintings already this year. These again are small-format works with the objects being represented at more-or-less life size.

'Seventies Project 1: Wooden Antelope'
oil on canvas/35 x 25cm/August 2019

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'Seventies Project 2: Homepride Fred'
oil on canvas/35 x 25cm/August 2019

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