Richard III & The Greyfriars Project I

Artist Unknown, 'Richard III'

Leicester is often used to epitomise the boring or unexciting.  Yet, I’m always surprised by how much colourful history lies on, or just below, the surface near my home.  My photos of Leicester’s New Street show a moderately attractive, largely overlooked lane in Leicester’s modest legal quarter.  However, the City Council car park behind those unremarkable green gates, (this is Leicester, after all), is currently the site of a significant archaeological excavation of The Greyfriars Friary that might just uncover the lost remains of Richard III.

The Greyfriars Project is a joint enterprise between Leicester University Archaeological Services and The Richard III Society, - those indefatigable defenders of his reputation.  It draws on the latest evidence about the location of the lost monastic church where Richard’s grave was supposedly situated.  The impressive team assembled includes military, medical and genetic expertise alongside the archaeologists.  The project’s instigation by Philippa Langley, - a screenwriter as well as an R3 Soc. member, and involvement of Channel 4, highlight how History is always as much about accounts as it is about facts.

'Loyalty Binds Me',  Richard's White Boar Emblem

Richard’s defeat to Henry Tudor at Bosworth Field and the ending of the preceding period of civil war is well documented.  I have previously alluded here to local folklore around what happened to his body afterwards and how it relates to persistent controversy over his public profile and the accuracy of the official account.  My own engagement with the subject comes both as a legacy of my school studies and fascination with the physical and textual clues evident in my current neighbourhood.

Sir Lawence Olivier Directs Himself As Richard In The 1955 Film

Ian McKellen plays Richard In The 1995
Film Version, (Dir, Richard Loncraine).

The image of a deformed, megalomaniac murderer of nephews and sexual predator, of popular imagination derives primarily from Shakespeare and a legacy of grotesque stage and screen characterisations of his Richard character.  However much we thrill at this parade of lurching cripples and fascist dictators, our contemporary understanding of propaganda and media manipulation must arouse plenty of cynicism about Shakespeare’s neutrality.  The Tudor dynasty were never so secure in their claim to the throne that they could ignore any chance to discredit Richard’s own worthiness and with it the lingering Plantagenet case.  Shakespeare might not have enjoyed the career he did without propagating the victor’s account so enthusiastically.

Anthony Sher Plays Richard, Royal
Shakespeare Company, 1984

Kevin Spacey On Stage As Richard, Old Vic, 2012

The colourful story of his disinterment from Greyfriars Friary and disposal in the River Soar as unwanted refuse at the time of Monastic Dissolution must be seen in this light, however much locals enjoy believing there’s still a crown buried in the river bed.  If DNA profiling can prove Richard still lies at Greyfriars, that particular legend would be confirmed as historical propaganda.

On my way home from New Street I passed our public statue of Richard, tucked behind the railings of Castle Gardens.  When originally situated more prominently, it was apparently a target for regular vandalism but, since relocation, has been left undisturbed.  It seems that the citizens of Leicester are undecided about him and, for now, his status remains up for grabs.

Playlist 4

It's that time again.  Things were going a bit folky this month till the Olympics and the electronic weirdoes kicked in...

‘Espers II’, Espers

Espers Strike A Classic Folk Musicians In Knitwear With Big Tree Pose 

The last decade has seen a critical re-evaluation of the late 60s and early 70s Folk Rock period and a new generation of musicians on both sides of the Atlantic tapping the same vein.  Of all the American Acid/Psych./Free Folk acts, Espers impress me most and this seems to be their masterpiece.

Eschewing verse-chorus structures these solemn, stately songs are built from repeating cycles of melody and elegant female vocals.  Although largely acoustic, they often build towards passages of distorted electric/electronic psychedelia in an authentic but bizarrely dignified freak-out.  Heard in its entirety, the album becomes monumental, immersive and rather timeless.

‘No Roses’, Shirley Collins & The Albion Country Band

More Folk Musicians, - More Trees 

Thoughts of that earlier folk revival led me to this masterpiece.  Ashley Hutchings made it in 1971 with new wife Shirley Collins and an all-star cast of dozens.  It places Hutchings’ knowledge of the tradition into an electric band context beautifully without ever overwhelming Collins’ fragile but earthy voice.  It also includes the wonderful fragment, ‘Just As The Tide Was A-Flowing’, which led, in turn, to repeat plays of…

‘Just As The Tide Was A-Flowing’, 10,000 Maniacs

Although Natalie Merchant’s own song writing can be over-precious, this band still achieved some real elegiac moments.  Here, they rip into the traditional ditty with energy and verve without losing an ounce of respect.  It’s an 80s stepping stone to the current re-re-re-revival.

‘The Hissing of Summer Lawns’, Joni Mitchell

As a singer-songwriter, Joni Mitchell always carried a triple threat.  Her back catalogue bristles with examples of intelligent lyrics, fantastic tunes and emotive vocal performances.  People rave about ‘Blue’ but, great as that is, I prefer this one.

Beneath it’s jazz-inflected sophistication and Hollywood sheen lie songs with a real cutting edge and occasional darkness.  The recurring themes focus on dysfunction at the heart of the West Coast Nirvana and New York seen as an exotic jungle.  The album title captures the contradictions of an artificial paradise perfectly.

‘Street Legal’, Bob Dylan

This one’s often overlooked and suffered from a bafflingly bad production job, but I love these mid 70s Dylan albums made prior to the lamentable Born Again years.  Religious allusions were always present in his songs but work much better when, as here, mediated by worldliness and existential doubt.

‘Street Legal’ contains three real epics in ‘Changing of The Guard’, ‘Señor, (Tales of Yankee Power)’, and ‘Where Are You Tonight? (Journey Through Dark Heat).’  Their complex lyrics, oblique references and multiple possible interpretations evoke a real ‘dark night of the soul’ that might actually explain the subsequent retreat into evangelical certainty.  To me, the much-derided Las Vegas big band arrangements create real drama and make perfect sense.

‘Full Sunken Breaks’, Kid Spatula

More beat-driven electronic oddness from Mike Paradinas, under yet another pseudonym.  This recalls the ‘Royal Astronomy’ album he made as µ-Ziq and includes some serious attempts to out-Aphex the Twin himself.

‘Tour De France Soundtracks’, Kraftwerk

Given this summer’s focus on competition cycling, it seemed only appropriate to spin this.  Music and technology had finally caught up with the former electronic pioneers from Dusseldorf when they released it in 2003.  Nonetheless, it’s an enjoyable slice of sleek European Techno, evoking the cadence of pedals, the sweep of the peloton through a mountain stage and even the demands placed on a cyclist’s body.

We know that Paul Weller actually provides the current Tour soundtrack so maybe these clean, futuristic sounds could apply to the super-efficient, high performance world of track cycling instead.  Indeed, Kraftwerk actually performed in the Manchester Velodrome in 2008.  I’d like to think that, when Sir Chris, La Pendlena and Trotty were preparing to race in London, this was looped and synched on every iPod.

‘Supersilent 6’, Supersilent

Ah, - Those Difficult Norwegians 

Although nominally from a jazz background, these Norwegians are much closer to the world of Avant-Garde improvisation than New Orleans or The Village Vanguard.  They reputedly convene periodically, solely to record or perform without any rehearsal and in a purely improvised manner.  They generally combine conventional instrumentation with abstract electronics and edit recordings from each unique performance.  These are packaged with austere uniformity and minimal information.  Also, the one member who's not originally a jazzer calls himself Deathprod and they've recently incorporated the bassist from Led Zeppelin into their ranks.

The slowly evolving pieces on ‘6’ are quite varied but share a sombre, Nordic aesthetic ranging from solemn dignity to the threatening and just plain spooky.  Passages of unstructured exploration and careful decision making periodically arrive at points of general accord between the individual players, often around a particular phrase, but rarely settle into anything comfortable or stable for very long.  Quiet passages barely emerge from silence whilst the loud bits can be intimidating in their volume.  It’s not something to play every day but always leaves me feeling I’ve had an extensive aural and mental workout.

‘Tom Lehrer In Concert’, Tom Lehrer

Lehrer was an outwardly tweedy, Jewish, Harvard Maths professor who also wrote and performed cleverly barbed satirical songs in the 1950s and 60s.  This was recorded in London in 1960 and features all the favourites including ‘Poisoning Pigeons In The Park’ and ‘The Masochism Tango’.  Lehrer’s songs were played regularly on the radio when I was a child and often made me laugh.  I appreciate their dark humour and brilliant wordplay more knowingly now and they still make me laugh.

‘Telstar’, The Tornadoes

An Historical Artefact From The Future 

BBC Radio 4 recently repeated their smashing little survey of pioneering British electronic music, including this little gem recorded in 1962.  Joe Meek’s private life and mental health were messy and tragic but he was a truly innovative producer in the early 1960s.  The Tornadoes probably saw themselves as cowboys more than spacemen but this has a wonderful distorted keyboard sound and that lovely blend of modernism and nostalgia essential to any effective futuristic vision.

Completed Studies

Every year, I anticipate the educational summer break avidly and make ambitious plans about how I’ll spend the time and how many paintings I’ll complete.  Then, at some point in August I realise the holiday’s nearly over just as I’m getting into my stride.  It's not like the work doesn't continue throughout the year, but there's no substitute for a solid block of uninterrupted working time.  This summer’s been no different but I won’t whinge too much, - I know these official breaks from reality are a luxury most employed folk can only dream of.

Untitled Study, ('No & Red Arrow'), Acrylics & Paper
Collage On Paper, 600 mm X 450 mm, 2012

Untitled Study, ('Heart & Asterisk'), Acrylics & Paper
Collage On Paper, 450 mm X 300 mm, 2012

As I write, I’m making good progress with my latest painting but am very conscious of the need to devote most of my remaining week of ‘leisure’ to completing it before the new school term begins.  We’ll see…

Untitled Study, ('A'), Acrylics & Paper Collage
On Paper, 300 mm X 200 mm, 2012

Untitled Study, ('D'), Acrylics & Paper Collage
On Paper, 300 mm X 200 mm, 2012

Untitled Study, ('E'), Acrylics & Paper Collage
On Paper, 300 mm X 200 mm 2012

The handful of additional studies here are independent images in their own right and represent a fairly intuitive process of ongoing experimentation.  The intention is partly to compile an extensive library of characters, symbols and signs without worrying over any deeper significance.  I’m already wondering about compiling a set of 26 small ones into an oblique alphabet.  As ever, it’ll only happen if I can juggle my time effectively but forming the  intention is half the battle.

Untitled Study, ('N'), Acrylics & Paper Collage
On paper, 300 mm X 200 mm, 2012

Untitled Study, ('R'), Acrylics & Paper Collage
 On Paper, 300 mm X 200 mm, 2012

Untitled Study, ('U'), Acrylics & Paper Collage
On Paper, 300 mm X 200 mm, 2012

Previously, I’ve mostly pursued this kind of thing in a sketchbook so this really just marks a slightly more ambitious move to get ‘the process’ up there on the wall with the finished paintings.

Interzone 1

Here is a small selection of additional photos from my recent trips out with the camera.  All of the locations are within easy reach of the burned-out Donisthorpe Factory featured in my last post.  These images were found serendipitously on my cycle trips out to document its sorry remains.  As so often happens, my lens closed in on physical material, text fragments and architectural detail.

Most were taken in an area of Leicester, known as Blackfriars.  It lies close to my home between the River Soar and the wonderfully named Frog Island and appears to have always been somewhat intermediate in character.  It’s hardly pretty or glamorous but fascinates me for its wealth of visual texture and visible strata of history.  As the name suggests, it was once the site of an Dominican religious house and later, of the impressive Great Central Railway station.  Donisthorpe’s Friars Mills factory was only one of several in the area that are now lost.  The zone now hosts a mixture of scruffy small to medium businesses scattered amongst areas of ad hoc car parks and open ground and derelict edifices putatively earmarked for redevelopment.

The current recession and bursting of the property bubble have seen several grand redevelopment plans collapse and as a result, the whole area seems to be holding its breath caught between a fast receding industrial past and an uncertain future.  Meanwhile, the car breakers and sprayers still fill the monumental railway arches with noise and cellulose fumes, bulldozers pulverise old brickwork, paint falls from neglected doors and urban philosophers pose questions in graffiti.

Friars Mills Burns

As the weather’s improved a bit, I’ve taken the camera out on the bike several times in the last couple of weeks.  Sadly, my knees are in a terrible state now so they’ve all been local excursions, - but enjoyable anyway.  

It allowed me to document a recent, regrettable piece of urban transformation, - namely the destruction by fire of the lovely old Donisthorpe, Friars Mills factory.  Normally, I try to remain objective about these things but I am genuinely sorry about this one.

The beautiful proportions of the listed 18^th Century building always looked impressive by the River Soar and created lovely reflections on this reasonably wide stretch of water.  It was the most attractive and, probably, oldest surviving example of Leicester’s industrial archaeology although looked increasingly forlorn since Donisthorpe Zips and Threads moved out some time ago. It has appeared on this blog twice before.

The building was burned out on July 23^rd and although extinguished, the fire left only the brick shell standing.  It’s the latest in a long series of Leicester’s once proud industrial buildings to be lost in recent years, and not the first to go up in smoke.  As much of the surrounding area has been cleared for supposed redevelopment, some might suspect these fires aren’t wholly accidental.  However, there are also reports of occupation by rough sleepers and trespassers and vandalism at Friars Mills so who knows the actual cause?

Remains of Burned Factory, Frog Island, Leicester

While researching the building I found it featured on several Urban Exploration sites with images that show some fascinating architectural details and evidence of its most recent occupants.  Some discuss the possibility of restoring the building but I think we all know how this one’s going in reality.  If finance was unavailable for a change of use while it was relatively intact - who’ll find it now?

Other References:


http://www.28dayslater.co.uk/forums/showthread.php/59535-Donisthorpe-Threads-Friars-Mills-Leicester

http://www.derelictplaces.co.uk/main/showpost.php?p=32657&postcount=1

http://hera.krystal.co.uk/~urbexfor/showthread.php/1261-Donisthorpe-(Friars-Mills)-Leicester-ARCHIVED

'...Zoink! Off The Scale'

I’ve never had much involvement with sport and am used to regarding the mindset of an artist as rather different from that of an athlete.  My attitude towards the whole Olympics hoopla over recent years could probably be best described as mild indifference combined with habitual scepticism about such overblown spectacles.

Danny Boyle (Dir.) & A Cast Of Thousands, 'Isles Of Wonder',
Opening Ceremony, London Olympics, 2012

Indeed, in the context of Guy Debord’s theories about Spectacular Society [1.], the Modern Olympics is a huge manifestation of Capitalist Spectacle in so many respects.  More immediate political debates around the whole phenomenon are manifest and diverse, including issues of elitism, spending, regeneration, sponsorship agendas, public health, out-sourcing of public services, educational provision and so much else.  Furthermore, news reports of Syrian civil war, nihilistic gun crime, sadistic burglars and ever-deepening economic malaise remind us that the same old madness continues apace beyond the perimeter of the five-ring circus.

Despite all that, I’ll admit to being surprisingly engaged with and entertained by the whole event.  Dispensing with my television some time ago means my exposure to it all has been via the radio and Internet and the BBC’s enthusiastic and varied coverage has accompanied my painting activities constantly over recent days.

Danny Boyle (Dir.) & A Cast Of Thousands, 'Isles Of Wonder',
Opening Ceremony, London Olympics, 2012 

From the start I was encouraged to see Danny Boyle get humour and a little subversion into his eccentric opening extravaganza and also celebrate achievements like the NHS amongst the things Britain could be proud of.  Full marks for getting parachuting monarchy, Mr Bean, The Sex Pistols and Pink Floyd into the same program too.  If the BBC has betrayed a partisan focus, it’s still good to know the British can organise an alcoholic function in a brewery after all and also be good at games when 'we' want to.  The debates about funding, sport in schools and the dreaded L-word rage on but it would take a hard heart to remain unaffected by the sight of talented and dedicated 'ordinary' young women fulfilling their potential and winning for fun.

Laura Trott, Women's Omnium Gold Medalist.
(Photo: Guardian/Tom Jenkins)

Jessica Ennis, Heptathlon Gold Medalist.  (Photo: Getty)

Two terms used repeatedly by participators and commentators alike have been ‘Unbelievable’ and ‘Emotional’.  However grand an illusion it might all be, - if only a fraction of the shared emotion, communality and good cheer apparently generated are authentic it could even be money well spent.

[1.]: Guy Debord, 'The Society of the Spectacle', 1967, Trans. Ken Knabb, http://www.bopsecrets.org/SI/debord/