Sketchbook Self-Analysis

Works from an ongoing project recording facial twitches and distortions across an ageing face. Rapid sketches [max 15 minutes] executed with little regard for proportion or structure; more a crawl across a scape where the specific features obscure the bigger picture. A4 [portrait format] sketchbooks and using a series of biro/ballpoint pens. Nothing too precious...

An unknown Soldier of the Great War

An unknown Soldier of the Great War pencil on paper 18 x 12inches dated 1916 I have long suspected that all the treasures comprising the antiques trade have by now been sourced, identified and marked to their full current values. Given the televisual super-saturation on this theme, the chances of discovering anything approaching a bargain must be pretty close to zero. However, if you prefer artefacts whose worth cannot be marked in hard currency, there may be hope. Several years ago, I acquired this drawing of a military officer for something less than twenty pounds, from an auction house in Bridgenorth, Shropshire. How he got there I have no way of knowing. I had hoped that there may

The Puppet Pitched Forward

“The Puppet Pitched Forward” graphite and acrylic on grey card 84 x 60cm “The Puppet Pitched Forward” oil on canvas 90x120cm ” We left Jeavons in the company of the constable and ascended the staircase to an attic area, occupied by four clothes rails replete with theatrical costumes, and two shelves accommodating several caricatured heads and wig-maker’s blocks. The whole presented a vaguely disturbing sight. “Look here, Watson.” Holmes had closed in on a crumpled heap in the shadowed far corner. “A body?” I approached with trepidation. “Of sorts, Watson, of sorts”. I looked down over Holmes’ shoulder and upon a three-quarter scale version of.. Jeavons. “Why it’s

The Flayed Model: the comic book artwork of Neal Adams

Brave & Bold: issue 85 Green Arrow ‘New Look’ Sept. 1969 One minor component in the American project to achieve a postwar cultural hegemony across the West was the exportation of the full-colour superhero comic. It occupied innumerable newsagent’s carousel racks across Western Europe under a plethora of titles, many of which were produced on a monthly basis. At this level of output, production values governing both artwork and storyline were set low. The strips generally displayed little aesthetic merit: rather crudely drawn and then simply inked, and coloured with four colours, modulated only through a half tone process incorporating the Ben-Day dot system. Representative of comic book ar

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