Half an Update...

The recent absence of blog updates does not mean hands have been idle by any means, and the drawings for the Seventies project have continued at a regular pace as will now be illustrated.

First of all, and continuing with the Northern theme that had been developing within the project, a double portrait drawing - also incidentally incorporating a still life element - from a source image that nostalgically recalls the early evening local television news programme that was broadcast into our homes in the north east corner of Wales, courtesy of the transmitters that brought us Granada TV rather than its Welsh equivalent (for which we required a special aerial adaptor that still proved unreliable). Thus are depicted two of the presenting team of ‘Granada Reports’ in its mid-1970s’ heyday, a young Tony Wilson as apprentice to the legend that was and remains Bob Greaves, with all fashions of the day on display.

Tony Wilson and Bob Greaves, 'Granada Reports' 1970s

graphite and putty eraser on 'Seawhite' cartridge paper/42 x 30cm

Next, the hip, young cultural gunslinger Tony Wilson is his other contemporary television presenting guise as more casually-attired host of ‘So It Goes’, introducing new music to the north west region, including a selection of the punk and post-punk bands from Manchester and environs that had been formed and developed in the wake of the Sex Pistols’ legendary appearances in the city in 1976. As ‘So It Goes’ fell victim to a notorious appearance by Iggy Pop at the conclusion of its second series, so Tony Wilson’s dissemination of the new sounds found other outlets, within ‘Granada Reports’ and also, of course, with the founding of Factory Records, both of which came to feature Joy Division as they grew and became such an icon of the time and place, and proceeded to transcend both as they remain synonymous with.

Tony Wilson, 'So It Goes'

graphite and putty eraser on 'Seawhite' cartridge paper/42 x 30cm

The recently-published volume of Paul Slattery’s photographic record of Joy Division at Strawberry Studios and around the town of Stockport on 28th July, 1979, features the source image for this drawing on its cover. ‘Here are the young men’ indeed, but creating some of the most powerful and resonant music of the era. If I’m absolutely honest, I didn’t acquire my first Joy Division record, the ‘Transmission’/’Novelty’ 7” single, until the February of 1980, after which obsession took hold, but the seeds of my devotion to them had undoubtedly been sown in my soul during the previous autumn, via the auspices of the John Peel radio programme (of course), so their inclusion in the project is entirely appropriate.

Joy Division after a Paul Slattery photograph

graphite and putty eraser on 'Seawhite' cartridge paper/42 x 30cm

More musicians pictured standing (and squatting) around can be found on the cover of The Stranglers’ (my very favourite group of the time) ‘Black and White’ LP, and this image, along with the band’s iconic logo, that I would have drawn/copied often then, forms the content of the next drawing which, in effect, illustrates one of the three music albums that I received as presents for Christmas 1979 (so we’re really pushing at the limits of the Seventies here!).

The Stranglers 'Black and White'

graphite and putty eraser on 'Seawhite' cartridge paper/30 x 42cm

The others were Public Image Ltd’s ‘Metal Box’, originally released as a collection of three 12” vinyl EPs contained within a tin canister (as very sadly I no longer own this object of desire, the substitute utilised as the model for this still life is in fact the reduced-circumstances and feeble impostor CD-sized version of the can, but I’d like to feel the spirit of the original can be inferred from the representation) - I have blogged about this on a previous occasion - and The Clash’s masterpiece double LP, ‘London Calling’, the front cover of which is faithfully reproduced in pencil here. In time, one learnt of the genesis of the latter artefact’s design, by Ray Lowry, in the artwork accompanying Elvis Presley’s debut album, and of such concepts and practices as artistic influence and postmodern ‘appropriation’, but I’m sure that wasn’t of particular concern to my 1979 self!

'Metal Box'

graphite and putty eraser on 'Seawhite' cartridge paper/42 x 30cm

The Clash 'London Calling' LP sleeve (front)

graphite and putty eraser on 'Seawhite' cartridge paper/42 x 30cm

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.

[detail]

[detail]

[detail]

[detail]

Deep(er) in the Woods

Following yesterday’s post, detailing the small revisions made to the first two ‘woodscape’ paintings, today we present the fruit of what has been the main thrust of creative activity over and since the Yuletide period in the form of a third such painting taking as its visual source a scene from deep within the predominantly pine-wooded environment beyond the rear perimeter of TOoT Towers (working in the conservatory at the back of the property is, obviously, the perfect location for all those instances of necessary empirical visual research that are an essential component of the painting process).

‘Woodscape #3’

oil on canvas/48″ x 24″/December 2016 – January 2017

‘Resolved’ (whether suitably/satisfactorily enough only time spent looking and considering will reveal), the painting continues in the manner of that pair preceding it and reveals explicitly its facture, the overt structure of horizontal and vertical brushstrokes, and the materiality of the paint and its mostly wet-into-wet application in the service of both the painting-as-object (transitional object) and the represented embodied experience of being present within the woods, treading upon the carpet of pine needles and moss and being confronted by the sheer verticality of the tree trunks and evidence of their foliage between and beyond. What one finds is that communicating this experience in paint becomes more and more complex and difficult each time one returns to the easel to represent the subject matter, more hermetic for want of a better word (and Cubism and Cézanne are never very far away, either) as, perhaps, this painting appears.

Outside of the world of the painting, but a valuable part of the process of its making, I must make mention of a couple of the elements of the accompanying musical soundtrack – Tom Waits’ ‘Mule Variations’, which sounded particular wonderful this last Sunday afternoon, and the long-overdue discovery of Can, oft-cited as an influence upon a number of artists whose work has proved to be an enduring favourite (not least early Public Image Ltd) but, especially absurdly it seems in the event, who had remained unexplored until recently, intriguing stuff and suitable grist to the painting mill.

Special Saturday (and a Bit of a Wobble)

A browse of the afternoon’s football results is of course an essential activity on a Saturday evening, circumstances permitting, and was yesterday rendered particularly pleasurable as not only the team to whom we are irrevocably yoked, Wrexham, won (2 – 0 at the Racecourse against Bromley in the National League) but, browsing through and down the leagues,  it transpired that all our Northern favourites had too – Stalybridge Celtic 3 – 0 at Boston and Gainsborough Trinity 2 – 0 at Hednesford in the National League North; Blyth Spartans 5 – 0 against Ramsbottom United (with the stupendously-named Wilson Kneeshaw scoring all five goals) and Marine, 2 – 1 against Matlock Town with a brace of added-time goals, for the first time since November, in the Northern Premier League Premier division and, just below in the NPL Division One North, Mossley indeed running riot in a 7 – 2 romp at poor old New Mills (who have but a solitary point to their name from 25 matches this league season) and Northwich Victoria surpassing even that with an 8 – 2 pasting of Droylsden. Happy days and, given this, today the excellent Non-League Paper had to be purchased to celebrate such. Below is evidence of how the publication reports the Mossley and Northwich Victoria goal-fests.

 

But that’s not nearly all, as this edition of the Non-League Paper also carries a fascinating article detailing the mighty Jah Wobble’s support of non-league football and particularly of his now-local club Stockport County (who unfortunately have of late fallen even further than Wrexham), which, to someone who has ever been a fan of the great man’s work with PiL on the early 'Public Image' and 'Death Disco' singles and first two studio albums, particularly the seminal and still extraordinary ‘Metal Box’, which begins with the deep throbbing rumbling foundation of Wobble's bass guitar and is thereafter driven along by it, makes him even more admirable and groovy.

 

 

Of another of the lower league football teams in whom we’ve come to take an interest and have indeed recently featured on this blog, our local heroes Gresford Athletic’s scheduled Huws Gray Alliance match at Mold Alexandra was postponed due to a waterlogged pitch.

 



Recently-Acquired Vinyl LP of the Day #7: Public Image Ltd 'Second Edition'

Today the opposite of tomato is (not for the first time) 'the jagged metal bad life'

Making it another double (& why not?), Public Image Ltd’s ‘Second Edition’ was both their second album & the second-format release of the original & iconic ‘Metal Box’ 3 x 12” single collection, which was an artefact I owned back in its day, thus not requiring the investment in ‘Second Edition’ until now, when it seems it should be another essential component of the vinyl LP collection, & thus it recently came to pass when opportunity presented itself.

I blogged some years ago about ‘Metal Box’ in relation to Simon Reynolds' opinion regarding the format in which music is released playing a part in its reception, with which I concurred & still do, very much so concerning this particular suite of tracks: ‘Metal Box’ was & remains the prime physical object-form via which to experience such remarkable music (even if it's many a long year since I was able to do so), with ‘Second Edition’ somehow diminishing its effect, if only slightly, but crikey the latter is still a damn sight better than subsequent CDs or mp3s – these sounds were made to be heard on vinyl.