For the Love of the Game: Flags, Football, Art and AFC Wimbledon

AFC Wimbledon - The King of Clubs

2011-02-13T17:37:00.001Z

If Terry Brown and his men came up trumps against an in-form York side then the ace in the hole might well have been Fleydon's latest offering "AFC Wimbledon - King of Clubs". The similarity of the figure to an earlier incarnation of Sam Hatton (sans headband) was another fortunate coincidence as his proved the only goal of a gripping game. When we approached Fleydon for some insights into his latest work we were surprised at his tranquil, almost other-worldly vacant stare and demeanour. He looked us straight in the eye. And this is what he said.

"Friends, the inspiration for this particular piece was the recent defeat to Woking. A young man was late for the game that day and took his place on the terrace just as the whistle blew to begin the contest. To the consternation of his neighbours he pulled out a pack of cards and began to riffle through the deck. It wasn't long before he was approached by a volunteer steward who pulled him aside and enquired of his use of the deck during such an important game. She chided him for not reading the Official Programme and threatened to move him into the John Smith's to stand amidst the stale aroma of stale urine, so grievous was her slight. Now that young man never blanched nor turned away. He looked her in the eye, and in a soft voice said

'Ma'm, I have just arrived and had no money left to purchase an Official Programme, but I have my faithful deck here and this tells me all I need to know. Let me explain and I think you'll see..."

He pulled out the deck of cards and spread them in front of her. Gazing deeply into her eyes he lifted up each card in turn.

"The Ace" he began "reminds me of Danny Kedwell, his goals and captaincy.
When I hold the Two it recalls the average number of legs each Wimbledon player possesses
The Three recalls to mind the trinity of Cash, Bass and Brown
When I am hungry the Four is the number of Kingsmeadow caterers in the last six years
The Five reminds me of the five regular matchday buys - the Official Programme, the WUP, Golden Goal, miscellanous raffle ticket and Terry's badge
The Six is the average number of cruciate ligaments snapped in a season
and following on the Seven are the players on Mike Rayners Injury notes
The Eight reminds me of '88, the year of cup triumph and the number of pages of adverts in the programme
Nine are the number of Holy Saints on the Dons Trust board
The Ten is the number of overhit corners I can look forward to each match
The Jack is, of course, the Devil. Who, lest we forget, is also a Don.
When I see the Queen it reminds me of the Wombelles and their joy of all things pink
And finally above them all the King - AFC Wimbledon, the King of all Clubs."

He paused momentarily and his eyes glistened with emotion. Then he continued.

"You may recall that there are four suits and that remind me of Ryman League officials, which was also the number of biscuits each suit was allowed in a disciplinary meeting,

The total number of spots is 365, which is the number of attendees at the matchday carvery

There are 52 cards in total, which is, of course, Crawley's usual away support at Kingsmeadow

And finally I can see thirteen tricks, the number of step-overs in a Christian Jolley run.

So you see Ma'm, I have no need of a programme for I have all I need right here"

Well, as he had finished his tale both the steward and all the supporters in the Tempest were in tears. Woking and their duo of ex-Dons had just scored their third and The Cards were through to the next round. And I know that this is the truth for friends, I am that supporter and this flag is here to remind me of all those memories, should I ever lose my precious deck of cards"

Supporters bow their heads in prayer as the AFC Wimbledon 'Deck of Cards' is recited

We at the 'Art & Artist Review' do not consider ourselves to be overly cynical, but our long dealings with Fleydon have taught us the value of caution in taking his words at face value. On returning to the office extensive research turned up this little gem from 1959. Having watched it in its entirety It would seem that Fleydon's whole story was less a pack of cards than a pack of lies and his artistic integrity is little more than a busted flush.

Still it is a nice flag that would grace any fridge magnet so we must conclude that it is not entirely without merit.

Wink Martindale - Deck of Cards (1959)

TV Review: Adrian Chiles Salutes The Genius Of Fleydon

2010-12-06T08:47:00.001Z

Art on the television is always a problematic exercise so your reviewer was intrigued at the possibilities of a populist Saturday morning show on ITV. Current affairs guru Adrian Chiles had dropped in with an ITV film crew charged with the the difficult task of capturing the latest Fleydon exhibition as part of a new 'live' arts-based documentary. For Fleydon himself televisual exposure added the extra dimension of complexity to his work "I work on two dimesnional surfaces which flutter and play on the breeze in a three dimensional environment. To have them re-viewed and relayed in to the two dimensional world of television frankly confuses me."

These subtlties of nuance were obviously beyond the grasp of the presenter. No true critic himself - and with a literalist style of interpretation - Chiles was obviously seduced by some of the larger works and concentrated his attentions on these whilst quite missing the exquisite gems scattered between. Defective recording equipment prevents us showing the full clip, but these two portions give some idea of the reverential tones in which Chiles approached this cathederal of art, this Tempest of creativity...

The overall look of the Tempest gallery as seen on national television was deemed to be more than satisfactory and we can only hope that the viewers felt a shiver down their spines similar to that experienced by watching Brunowski's Ascent of Man or Clark's Civilization for the first time. Following the Reithian mission statement to Educate & Inform, ITV must also be congratulated on their achievement on this particular day, even if the BBC would have been perhaps a little more probing in their analysis

To clebrate the exhibition and to provide an entertaining 'fore-drop', a football match was arranged between Stevenage and a representative team from AFC Wimbledon to entertain the crowds between viewings. However this was found to be too tempting a distraction for some of the less artistically- inclined cameramen whose attention would stray from art onto the pitch, and we would suggest this arrangement be reviewed in future. Otherwise Art & Artist Review' found the programme a creditable if populist, introduction to a complex and enigmatic artist.

Viewer Rating 7/10

Yakkety-Yak - Yak Attack!

2010-11-26T23:23:00.000Z

The Face, The Hoff, The Edge, The Stig... Seems like the good old days, when heroes were enigmatic and names were short, are well and truly back at AFC Wimbledon. The close season signing of ('Call me..') Ismail ('The Yak') Yakubu, the man with possibly the most confusing set of nicknames in non-league football, seems to have sent Fleydon ('The Flag') into something of a tail-spin. Formerly reluctant to the point of belligerence in his refusal to mention players on his flags, Fleydon has recently completed an amazing volte-face and now counts Antony Howard (1 flag), Sam Hatton (1 flag), Danny Kedwell (2 Flags) and Ismail Yakubu (1 flag) amongst those immortalised on canvas.

Intrigued at this recent development, The Art & Artist Review investigated further and with the assistance of Glen (Trigger) Mulcaire (TheTrig) managed to discover some startling information regarding the artistic direction taken by the artist known as The Fley
(nb This may, or may not, be a picture of the artist himself. More reclusive than Banksie, The Fley is a hard man to pin down...)

Fleydon's latest offering to the Tempest End Society of Art Critics appears slightly bewildering at first. However text and voicemail messages that have come into our possession between Fleydon and his agent Miranda 'Vampira' Campowski which throws light on the shady underworld of Terrace Art.

Although ostensibly an homage to the talents of Manchester City striker Shaun Goater and his biography 'Feed the Goat' this particular flag is apparently nothing more than an attempt to appeal to the vanity (and the wallet) of player himself. Anticipating a return to League football Fleydon seems to have abandoned all claims of artistic integrity and now seems to be determined to flatter his 'subject' in the hope of a swift financial return, hoping no doubt, that the increased revenue flooding into the club from both the Magic Minute and the iDons franchises are fuelling the players wage packets beyond their wildest imaginings. In this respect he reminds us of erstwhile surrealist and money machine Salvador Dali. We can only hope that Fleydon sees the error of his ways and reverts to less commercial activities in future. And to Mr Ismail Yakubu we at The Art & Artist Review can only say "Keep your hand in your pocket. Flattery is worthless and it's not even a very good Yak. You can get better for less."

"Special K" - The Unveiling of Ked's Head

2010-10-22T18:41:00.000+01:00

Sometimes a plan comes together. And don't you just love it when it does?

The Crawley game of 23rd September was just such an occasion for Fleydon as he made plans for a record breaking third consecutive flag focusing on a single individual. Of the two previous flags "Just don't upset Danny" was indeed a true evocation of the spirit of Kedwell but the following effort, "Kiss the Badge" had the unfortunate effect of indirectly implicating Danny in an international betting scam of biblical proportion. After keeping low and well out of sight for some weeks, Fleydon then emerged on the night of the Crawley game with what can only be construed as a 'peace offering' to the Dons Captain.

Special K - The Ked's Head is a simple design - an almost pointillistic rendering of the benign features of the special one gazing down on his chosen people. Stylistically not unlike the face of God, Boe , Big Brother or even Holly where in each case these individuals maintain a calm impassivity whilst all around them chaos reigns

For AFC Wimbledon the unveiling was marked by the presence of television cameras and a potential audience of millions. For Fleydon it was an unashamedly desperate piece of humble-pie eating. Would Kedwell accept the offering in the spirit it was offered? Would he provide some small sign of forgiveness?

Ked's Head joins the Pantheon of Flags

Ked's Head was set up directly behind the goal in a high visibility position and soon attracted a crowd of potential acolyte's. Their apparent anxiety grew throughout the match as Kedwell seemed to spurn their entireties - to the extent of allowing the Crawlies to score in the very net they had hoped he would bless himself.

At this point things were looking bleak for the self-styled 'Kedwell-ites' and pleading cries of "Give us a sign!" were heard coming from the back of the stand. Half time arrived and the acolytes were left milling about in a state of obvious confusion

Confused supporters milling beneath the icon at half time

The second half was a revelation though. Having suffered their penance, Keds relieved the suffering of his followers by allowing the appropriately biblical Samuel Hatton to literally 'Cross the Jordan' to level the score from his accustomed position on the right-back hand-side of Keds.
To then prove his beneficence beyond all doubt the Lord Keds then rose above the 'red devils' to gently nestle the ball in the back of the net, beneath his icon, to seal a memorable victory and to send his followers into ecstatic raptures

No more need be said on this momentous night, although Fleydon - in a further gesture of contrition - has intimated that this most sacred of flags may well be used in the near future to raise funds for worthy Wimbledon causes. We await further details with barely trammelled excitement...

Tickle 'yer Keds with a Womble! A votive offering was discovered beneath the flag obviously placed in an effort to appease the deity.

Betting Scam Rocks Worlds of Art and Football

2010-09-13T12:26:00.001+01:00

Caught on CCTV - The Offending Flag

Investigations are being conducted into a recent AFC Wimbledon match against Bath City in the Conference Premier, scene of a massive betting scam spread over four continents and involving millions of pounds.

Police and gambling associations around the world had their suspicions aroused when a number of large bets were laid predicting that Danny Kedwell, Wimbledon captain and crowd favourite, would kiss the club crest on his shirt. Such a gesture is usually viewed with suspicion and a degree of cynicism by Wimbledon supporters so the odds of Kedwell engaging in such an activity were considered remote and the odds were consequently long. The fact that he blatantly did so following his goal in the last few minutes of the game further alerted the authorities to the possibility that all was not as it should be and an immediate investigation was launched.

Attention soon focussed on a new piece of artwork hanging in the Tempest End. Highly visible throughout the ground, the confusing and enigmatic piece had caused much doubt and discussion amongst spectators who had been speculating as to the nature of the flag and the meaning of the central figure. Was it a ghost, monster or zombie? What did it have to do with the club at all? The artist Fleydon, controversial vexillologist and self proclaimed ‘bad-boy of the emulsion tester pot’', had evidently placed this new flag with no prior announcement. It was also swiftly removed at the final whistle before reporters from the Art & Artist Review had the opportunity to question him regarding meaning and content.

Gene Simmons - Unwitting Subliminal Trigger?

Investigators soon noticed that the central figure bore an uncanny resemblance to heavy-rock practitioner Gene Simmonds of the band KISS. However subtle alterations had been made to his usual stage makeup and investigators soon made out what they believed to be a coded message contained within the design itself. The more usual ‘Demon’ make up had been adjusted to resemble the AFC Wimbledon badge in what is now believed to be an explicit -albeit subliminal - instruction for Kedwell to “KISS – The Badge”

Licking Supporters. Not clever, not funny...

Although scientists studying the evidence were amused that the painting seemed to be licking a supporters head, they also emphasised that it was very wrong to encourage betting scams. They were anxious to emphasise that Danny Kedwell was apparently totally oblivious to the subliminal messages coming from the Tempest End and has subsequently been cleared of any wrong-doing.

Investigators are still seeking Fleydon and there are serious concerns that the success of his subliminal suggestions may encourage him to extreme measures during the upcoming home fixture against Crawley Town. Supporters are therefore advised not to look too closely at flags produced by Fleydon until they can be certified clear of all unconcious instruction.

"Just DON'T Upset Danny"

2010-03-28T18:21:00.000+01:00

Set fair to ascend into the pantheon of AFC Wimbledon Gods (where he will surely sit at the right hand of Almighty Everard) Danny Kedwell has now joined another unique trio*, those of individuals honoured in the works of Fleydon. Previous beneficiaries of this honour were manager Dave Anderson in DA's Army and Sam Hatton in Sam's Missile.

"Such tributes are rare for obviously pragmatic reasons" remarks Fleydon. "Players, even the most popular, have a habit of coming and going whereas what I celebrate is the spirit of the club, it's essence rather than the qualities of a particular individual. Other personal references have been sparked by specific circumstances - the DA reference was part of a pun and Sam's Missile part of a sponsorship birthday present - so you could argue that this particular flag is the first to truly celebrate the qualities of an individual player and as such marks a major concession to my artistic values. Tenacity, strength, the ability to transform a game and a 'never-say-die' attitude combined with that photograph of Danny that they always show in the NLP... well, apart from the green tinge, that's Danny all over isn't it?"

We asked about the coded meanings and the playful conceits that litter his work, but were more than slightly surprised at the confession that these were entirely absent from this particular piece.

"No, nothing. It's just a bit of fun and an homage to someone who will undoubtedly be our player of the year this season. I don't think he'll mind the Hulk comparison either. I was stuck for paint to tell you the truth and really needed to use up the green so it was either going to be the Hulk or the Green Lantern and I don't think players are allowed to wear rings during a game, especially if they glow and confer almost unlimited power on the wearer. Although now I think about it the Green Goblin would use a lot of green as well and as coincidence has it the Hulk shared a front cover with him on his first appearance. But then Danny's definitely more Hulk than Goblin."

Having now been premièred "Just DON'T upset Danny!" will now be withdrawn form public view whilst Fleydon makes emergency adjustments to the shirt. "Having had the opportunity to observe it in situ I'm afraid the blue is a bit on the light side and looks just a litle bit sheer for a football shirt. As there's the possibility of a hint of nipple showing through I'm going to ensure it's thickened and darkened to make sure I'm not caught out by any late frosts."

"Just DON'T upset Danny!" will be back for the new season. Here's hoping that the real Danny Kedwell will be too.

* 'Frankie' Howard was also honoured but that was a one-off leaving flag and not designed for repeat hangings.

2002 - A Dons Odyssey

2010-03-08T16:33:00.003Z

PRESS RELEASE: Fleydon Artworks Inc. 06-02-2010

Major Artwork To Be Unveiled At Kingsmeadow

“We then walked round the corner to the junction of Plough Lane and Durnsford Road, where the sculpture – named “Landmark” -- was waiting for us, wrapped in a red cloth.” WISA article

Saturday’s game against Forest Green Rovers sees the unveiling of the latest Fleydon artwork and a companion piece to artist Sam Burford’s Plough Lane Landmark monolith (see Sam's site for pictures of the piece)

Although bitterly disappointed at being overlooked in the selection process for the Plough Lane commission and semingly forgotton when invitations were being assigned, by sheer coincidence Fleydon happened to be in area during the unveiling. At the conclusion of the ceremony (and after all participants had left the scene) Fleydon emerged from the surrounding bushes, determined to retrieved the red material used to wrap the monolith which had been casually discarded in the rain.

Whilst crouched on the floor gathering the cloth, Fleydon looked up at the black monolith towering above him at the very moment when the rain clouds parted and the sun burst through, creating both a halo of light around the statue and an epiphany in the mind of the artist.

At that point Fleydon realised that with his crouching pose, the monolith and the burst of light that there were uncanny echoes of the film 2001: A Space Odyssey when an outside force prompts a huge evolutionary change within the minds of our primitive ape-like ancestors.

2001 might have been important in the film but 2002 is, of course, the year when AFC Wimbledon suddenly emerged from the broken carapace of its predecessor and when attitudes and beliefs evolved in new and exciting directions. Just as the ape-man shattered all his rivals with his new and potent 'club' so too did the motivated and highly intelligent new species of Wimbledon football supporter. In fact it was a time when a new ‘Dons Odyssey’ began as the club once again began it's long haul to 'reach for the stars'

Fleydon has captured this moment of enlightenment on his new banner, the material of which is the very red shroud mentioned in the WISA commentary and used to cover the Plough Lane statue. Likened by many to the Holy Shroud of Turin, this scared red rag helps ensure that, in some small way, a vital link is maintained with Wimbledon’s spiritual Plough Lane home.

Film buffs will also be aware that the motto “The Ultimate Trip” is not only a strap line on the original movie, but also echoes manager Terry Brown’s assertion that the journey is often more enjoyable than the destination. It is this small but vital attention to detail that keeps Fleydon on the top of his game
***End of Press Release***

Appendix 10: Gettin' Awesome! Fleydon's 19th Nervous Breakdown

2010-01-06T02:00:00.136Z

There has been confusion and no little controversy at recent low-key displays of a new Fleydon artwork over recent weeks. Rumours had been circulating that a curiously ephemeral work had been spotted at the Crawley FA Cup replay game, but the sighting had remained little more than a speculative until incontestable proof came from an unexpected quarter, namely the 'Real FA Cup Blog'

Whilst the original appearance seemed to pass without comment, a second display at the Gateshead victory sparked no little controversy amongst keen aficionados. Yet the second viewing undoubtedly featured a flag of significantly different substance. Just what was going on here? Fleydon, usually so verbose and bellicose in his defence of a new work was strangely silent. Boast came there none, nor word nor speech nor declaration. The master was silent.

Always eager to pin down the elusive and enigmatic Fleydon reporters from the Art & Artist Review were forced to wait outside the Kingsmeadow stadium until the early hours before the artist finally emerged from the back bar in an obviously 'tired and emotional' state. Dishevelled and confused he was was clutching a blue IKEA bag to his chest bulging with the folded canvases of many of his greatest works. That one of the countries greatest living artists might find himself stumbling and mumbling inchoate phrases around the Cambridge Estate in possession of artwork valued in the millions beggared belief so for his own safety our reporters bundled him into a white transit van and took him to a secluded refuge before providing him with a cup of coffee, a sturdy chair and some bright lighting.
The Crawley Awesome

What follows are excerpts of an interview held with the artist over the next few days. Often incomprehensible and frequently unintelligible Fleydon eventually provide answers to at least some of our questions.

Fleydon, your new work, 'Gettin Awesome' has appeared at two matches but in different forms. Are we looking at the same flag here or two different versions?
Look, whoever you are, I'm an artist. What I do... is me. It's what I am. I don't have to explain myself to you or anyone. Only to myself. Now **** off! (There was some off-the record discussion at this point after which Fleydon was 'persuaded' to continue with the interview) All right, all right it's just the one flag. Do you think I've got time to sit around doing copies or something? It just wasn't finished for Crawley that's all. It was a work in progress. I was still playing around with ideas and themes. The internal discourse - it was still in full flow. I just committed too early. I butted in on the mental badinage and hit the canvas before I should of. I tried to force the flow and ended up with a Premature Enflagulation.
Had this ever happened before?
No, never. I don't know what happened. I think I was a bit stressed or something. Anyway that's all it was. Nothing else at all. It happens and I'm over it.
Is it any coincidence that the night of the Crawley game was also the last opportunity for this years Turner Prize nominations?
Turner Prize??? Don't make me laugh... you only get that if you've slept with some husky voiced 'judge' or you do a natty line in abstract tat. Proper art never gets a look in. Do you think representational images like mine would penetrate the bourgeois sensibilities of the North London Art Mafia? No it wouldn't. Now **** off and stop shining that light in my eyes.

(Despite his protestations it would seem that the arrival of a half-finished flag at the Crawley game was indeed an attempt to draw attention to himself and his work in a last-ditch effort to win the only major art prize that has so far eluded him. His disappointment at his non-inclusion in the Turner Prize shortlist was apparent. The Art & Artist Review decided to probe deeper and took the decision to dispense with the traditional 'good critic, bad critic' approach and just stick with the more direct 'bad critic' in the hopes of drawing him out.)

'Gettin' Awesome'........What the **** is that all about?
Gettin' Awesome is just what it says. What's so hard to understand? Flags are supposed to exalt and celebrate - what would you prefer on it "AFC Wimbledon - Not bad, just lacking an attacking left back and an aggressive midfielder and then we might have a shot at the play offs" ? OK so I couldn't fit it all in but still....jeeesh!

That's a pretty random expression for a football flag. Is that what's supposed to be so good about it?
I'm sorry, I can't do you thinking for you... let me just remind you what I said on my wiki page on art "One of the central challenges of post-modern art, is that as the world becomes increasingly utilitarian, functional, and market-driven, the presence of the non-motivated arts, or art which is ritualistic or symbolic, becomes increasingly rare." If you prefer your art packaged and neatly explained then you're looking in the wrong place. I don't do easy stuff...rituals and symbolism are my bread and butter. I can't open a closed mind... I can only enter when invited.

It's vacuous. It sticks out as a work where the artist has clearly run out of ideas. Isn't that really the case?
Run out of ideas?? RUN OUT OF IDEAS??? Look at the two pictures - can't you see how the work has evolved and developed? Do you think it does it on its own or something?

OK, let me give you a few clues and pointers...AFC Wimbledon is a breath of fresh air right? A 'fresh wind blowing through football'...well the typography of Gettin' recalls the infamous 'balloon writing' of the '70s - a holding of the breath ...an inflation and a sucking in that must be followed by the triumphal exhalation - usually (but not always) when a transcendent goal is scored. The resulting inevitable wind is leaving at such speed that not only is 'awesome' blown like a flapping ribbon in a storm, but the collective strength of the gale threatens to shake the very fabric of the club itself! The badge veritably bends and leans in the wind - but does not break!

That the very flag itself was physically changed after that display against Crawley...well that proves the point I think. It came through that furnace of a game like a sword tempered in the blood of its enemies. It is stronger, clearer and more vibrant. Art can transform not only the spectator, but the work itself.

Vacuous? We'll leave that judgement to posterity ...

Now LET ME GO!!!

Postscript: On his release Fleydon seemed to suffer another of his 'breakdowns'' and retired to his country retreat in Morden. He has refused to communicate with the outside world although one of his female assistants was heard to mutter that he was having a 'massive hissy-fit' and wouldn't go near his paints. We all here at Art & Artist Review wish him a speedy recovery.

These Boots

2009-08-09T00:51:00.006+01:00

Another season, another flag... The opening of the new season began, as always at Kingsmeadow, with the traditional 'Parade of the Venerable Flags' held at sunrise as the watery orb crept over the Kingston Road End. Last years mascots each held a flag folded in the approved style that were then ceremonially 'offered' and 'declined' by three of the stands before finally being 'accepted' by the Chief Steward at the Tempest End. Each flag was then hung in its approved place according to seniority. A sprinkling of blessed Malt-based Chip Condiment from the Tea Hut, a few seconds of silent contemplation followed by three rousing cheers and the new season was officially under way.

Another tradition was also being scrupulously observed - the unveiling of the new flag for the first home game of the season. As usual, at the first hint of a Fleydon-related 'happening', Art & Artists Review were on the spot and eager to talk to the legend himself.

'These Boots' is a work in the traditional Fleydon style and is sure to delight those who find his more challenging works, such as 'Victory' or 'Whites of their Eyes' just a step to far. Fleydon himself though saw the work as less than comforting.

"It's disquieting, subversive and slightly sinister. Yes, at first glance it seems almost familiar, a bucolic image of a time long-passed. The clarity of colour and line are based on the Disney colouring techniques that we are all so familiar with and it seems to hark back to a time of childhood innocence and park games. The symbolic representation of daisies sprinkled amongst the grass for example - it's all so good natured and reassuring is it not?"

Fleydon's referencing of Disney cartoons carries more than just a visual similarity as further contemplation of the work brings on feelings of unease and disquiet, not unlike that bought on by the Wicked Queen in Snow White or the ominous presence of the hunters in Bambi. Then you realise that the focus of the image is not the ball or the players - what we can see of them - but their boots. And what boots they are. No hint of the Fancy-Dan efforts crafted for John Main and Danny Kedwell, it's not even clear that they are designed for football at all.

"Boots are a very strong image with many psychological associations- working boots, the stamp of the military boot, the dominatrix, the jackboot, Kipling's poem 'Boots', being 'too big for your boots' and most significantly 'hauling oneself up by the boot-straps'. What we have here are a group of modern players - witness the current strip - harking back to a mental toughness personified by the boots of their illustrious predecessors, the Old Centrals and the Crazy Gang. Boots symbolise power. The Roman Emperor Caligula, for example, was so named because as a small boy he was dressed in miniature military uniforms. Caligula is actually Latin for 'little boots'. What we need at Kingsmeadow are a team of mental Caligula's, ruthless, strong determined and focused - although disemboweling your sister and promoting your horse to positions of authority may be taking it a bit far for most of our current squad."

The Imperial Roman links are further reinforced with the depiction of Caeser's two-headed eagle. For the first time ever on a Fleydon work the badge and its white backround are missing. This Fleydon informs me, is a symbolic 'freeing' of the bird. "It's national now...it can spread its wings and fly. The world is its oyster..."

The other noticible element is the quotation from Nancy Sinatra's 1966 (symbolic in itself?) hit These Boots Are Made For Walking. Walking, not football? So the choice of the lyric isn't intended as a physical threat then more a mental one? "Exactly. When it comes to the game we want to make sure the lads have their psychological studs on. To paraphrase Nancy Sinatra - the season's started so 'Come on Boots - Start Walking!"

Appendix 8: Merton Honours Fleydon

2009-05-09T14:08:00.008+01:00

The Art & Artist Review were honoured this week to have been invited to a very special Civic Reception hosted by the charming and youthful Mayor of Merton, Councillor Martin Whelton. This very special occasion was expressly to acknowledge Fleydon's achievements and what has been, by any measure, a remarkable season of flag-related art and provided the community as a whole the opportunity to pause, reflect and rejoice. As Councillor Whelton noted in his powerful and emotionally charged speech, over the last year...

...Fleydon has provided a beacon, a light, a symbol of all that is good about Merton and it's people. He has shown that the borough is more than just tennis, more than the end of the Northern Line, more even than a few decent Korean restaurants in Raynes Park. With his powerful imagary and razor-sharp intellect he bought joy to a dispirited people. Where there had been discord, he bought harmony. Where there had been error, he bought truth. Where there had been doubt, he bought faith. Where there had been despair, he bought hope and where there had been hunger he bought chips. But most significantly of all, where there had been spaces, he bought flags. Wycombe Wanderers, Basingstoke, St Albans - names that wil live forever more in the minds of those that were lucky enough to be there. For those that weren't there was always the celebratory match programme and the 'Time Out' article and the chance to rub at least the image of one of his miraculous flags on a wound, sore or chronic skin condition. For these and many other reasons, Merton are proud to bestow on Fleydon the Freedom of Mordon and the hereditary title of Signeur Doigt of St Helier with the subsequent personal lifting of all local parking restrictions.

Fleydon himself had shown unusual humility and had extended an invitation to both the team and management staff for the inspirational part they had played in his succesful season.

I couldn't really have done it without them. As my collective muse they certainly deserve some of the attention, although not most, obviously. I'm more than happy to permit them to bring along their own trophy and to make tonight a true celebration of both art AND sport. Though mainly the art, because when you get down to it, that's where you find the real money and kudos.

The celebratory flag display that greeted the invitees was set out in such a way as to lead the viewer on a spiritual and emotional journey akin to that undertaken by a squire, prior to his elevation to knighthood. As the astute and cleverer amongst you will note, this was a journey not unlike that taken by the club prior to its elevation to the Conference National.

The Grand Entrance: 'We are Wimbledon' & 'Behold the Don'
"A statement and a subtle reference to a re-born Messiah. A squire would, of course, had to have pledged himself at an altar before undertaking his personal pilgrimmage. Just so the viewer as they enter the Civic Centre, Merton. A nice start to the evening, don't you think?"
[Note: the balloons were donated by the Art & Artist Review and were later distributed to needy children in local schools]
Looking Over My Shoulder: 'The Mystic Tryptych', 'Wombelles' and 'Raising Standards'
"Themes of struggle and chivalry dominate this sector as mediaeval symbolism, modern combat and delectable maidens all struggle in the artist's psyche. The heads featured below give an idea of the sheer scale and grandeur of the display."
Withdrawing: 'The Devil is a Don' & 'Nice Clean Sheets'
"Temptation is the issue here... Maybe issue was a poor choice of word but certainly we need to retain purity of soul and clarity of thought. But are we desperate enough to regain our league place that we are ready to sell our collective soul to the Devil? Will we soil our metaphoric sheets with unclean issue? Metaphorically?"The Swivel: "A Better Class of Team"
"The point of transition. We've made our statement, set off on our chivalric crusade, faced our personal demons and temptations and now... through innate decency and built in goodness... find we can rise above them."
The Conclusion: "A Dons Man" and "Form Follows Function"
"I complete my journey with the contemplative acceptance of a job well done. I have reached a point of transition. I have, as my dear friend Joseph Campbell would say 'Followed my Bliss'. With a pipe full of Old Licorice Shag I can lok forward to the season to come and to new challenges, new accolytes and new flags. I cannot change my nature and I find yet again that form does indeed follow function."
So we reached the end of the evening. Fleydon was scheduled to give a speech to the assembled masses from the balcony but a surfeit of tuna & sweetcorn sandwiches allied to copious amounts of red wine had rendered the artist insensate. Fortunately the members of the team who were present were approached and proved willing to provide improptu entertainment by displaying their league trophy and conducting a lively sing-along, not unlike Cliff Richards at a damp Centre Court. Fleydon later sent them his thanks to the players and a box of Quality Street by way of appreciation, a kind gesture much appreciated by the beneficiaries.

The Mayor, Players and Manager kindly step into the breech

Appendix 7: 'Feel The Pain' - Comic Relief ' Mobbing' Uproar

2009-03-14T21:39:00.006Z

Fleydon once again found himself in the middle of a media storm when the unveiling of his latest work "Feel the Pain - Grabbed by the Wombles" was hi-jacked on national television as part of a Comic Relief stunt. Unbeknown to the artist a well-known comedian and a controversial talk-show host had planned a 'Where's Wally?' inspired jape, secreting themselves at an important sporting event where they would gesticulate and grimace at every passing camera. Vast amounts of money were to be promised by frenzied viewers 'lucky' enough to spot them in a crowd. With an eye for publicity it was perhaps inevitable that the Tempest End was their chosen venue.
As the official photographer recorded the unveiling, comedian Peter Kaye leapt to his feet grimacing broadly. His companion, Jonathan Ross, slipped as he too tried to jump but was still able to raise an arm in triumph, treating those in the vicinity to a glimpse of his special 'JR' diamond-encrusted Rolex watch. Stewards were immediatly on hand to protect them from the fury of the dissapointed crowd and to usher the two gentlemen from the stadium. However the damage was already done and Fleydon was forced to retire to the newly erected First Aid hut for a dose of smelling salts and a brisk rub-down with some Hartleys Emulsified Muscle-Rub Emolioment .

It was some time before he was able to discuss the new work and in the meantime a corrected image was prepared 'erasing' the pranksters from the picture.
After overcoming his attack of 'flittering vapours' we asked Fleydon about his latest opus.

Q. 'Grabbed by the Wombles'? Surely we are looking at a poor pun here?
Less a pun really and more a reference. For Wimbledon supporters being 'grabbed by the wombles' has strong connotations. Most famously when Mr Jones met Mr Gascoigne. You can see immediately one the inspirations behind the canvas.
At first glance you could, possibly should, assume that the the message is an inspirational exhortation, reducing the imposition of pain (emotional or physical) as almost a duty, somthing to aspire to. Indeed the very format chosen is that of a motivational workplace poster.

The sort found in Human Resource centres, designed to inspire uninspired staff?
The very same strong black borders and white writing indeed. As a student of Freud, Jung and Shlipping I am fully aware that these choices are not (indeed cannot be) accidental. Nothing as blatant as certaintly here though for the essence of this work lies in its ambiguity.

Let me ask you a question for a change. Give you a chance to exercise those little grey cells. Who do you think the screaming head represents?

My assumption would be that it represents the pain and anguish of either a player or supporter of a team vanquished by AFC Wimbledon. Is this not the case?
Well of course it might be. Or it might not. That is the basis of the ambiguity. By referencing Mr Gascoigne above that is the interpretation I would expect of you, a mere critic, but consider my other inspiration. What it is that could turn a mild-mannered, gentle individual of temperate hue and pale complexion into an enpurpled and despairing caracature of himself, with veins like whip-cords and neck muscles bulging like a fistfull of walnuts in a Christmas stocking? I'll tell you what...the awarding of an obviously erronious 95th minute penalty to the opposition, that's what! This blatant injustice at our recent game at Weston-super-Mare wrought fearful changes on one particular individual in my vicinity, changes I refer to as 'The Dundonald Effect'. It showed just how deep and personal is the attachment to the club. That and the amount of time and effort the said individual invested in keeping the club financially solvent. Amazing and yet also slightly scary...

So the screaming individual depicted on the flag might just as easily be a Wimbledon supporter?
Exactly. When you support Wimbledon you sign up for the lot. Like a flagellant on the stations of the cross, you expect an emotional whipping along the way but like an addict you keep coming back for more. As I'm sure Mr Jones would put it, the when you're grabbed by the wombles you stay grabbed!

Ambiguity, pain, despair and the shriek of the addict who cannot be weaned from their drug of choice. Supporter or opponent it seems that AFC Wimbledon will put us all through the emotional wrangle at some point. Yet again, with his customary skill and genius, Fleydon proves himself once again modern arts 'master of the oblique'.

Fleydon & Time Out Magazine

2009-03-05T13:23:00.005Z

Iggy Pop, then Dylan, now Fleydon... Has the artist known for his street-wise sensibilities finally sold out? Will exposure on London's premier arts and listings magazine, and on such a scale, go to his already polished and bulbous head? Can we expect his work to suddenly start appearing on hoardings, bus shelters and adverts? Will he finally follow the path of his estranged former flat-mate Salvador Dali and grab the bucks with both hands? Or is he engaged on a temporary 'consciousness raising exercise' before turning once again to his first love, the Tempest End on a Tuesday night in March for the first round of the London Senior Cup? Only time will tell - but be assured that the 'Art & Artist Review' will be there for every twist in this already convoluted tale...

The Sam Hatton Commemorative Flag

2009-02-15T12:56:00.003Z

The appearance of a new Fleydon flag is always cause for comment, but the recent unveiling of Sam's Missile at the Tempest End was a event tinged with a hint of confusion and a dab of anti-climax. Originally commissioned as part of the HardBack Dons Sam Hatton 21st Birthday Celebration Package its triumphal unveiling at the St Albans game was intended as the centrepiece of a days festivities that would have included fireworks, choral works and the distribution of alms to the deserving needy of St. Albans, the Hatton home town. However inclement weather caused havoc with the planning and both the game and the majority of the celebrations were abandoned.

The Hayes & Yeading evening game was not considered an appropriate occasion for the unveiling and it was felt that the disappointment of this decision led in part to Sam having one of his quieter games of the season.

The honour of the unveiling fell to Bath City and its eventual arrival was greeted with a near frenzy of excitement and a powerful surge, only narrowly restrained by the stewards, as Hatton well-wishers saught to obtain a first glimpse of the work. Radio WDON also picked up on the excitement, but their poor viewing position led to some confusing comments being broadcast to listeners around the globe with regard to both form and content, not unlike the confusion around the London 2012 Olmpic logo and Lisa Simpson.

Following the match we were able to snatch a few words with Fleydon about his latest opus:

A&AR: Fleydon, first of all congratulations on the result but I must say this is a bit of a departure for you isn't it?
Fleydon: I assume you refer to the lack of badge or AFC symbolism? Well as this was really a work celebrating an individual that seemed slightly superfluous and would have over-crowded an already visually rich work. But I should point out that it's an artistic departure in other ways as well, in as much as it celebrates a current player; employs a moody, atmospheric colour scheme (when I usually favour a bright, high visibility format) and is daring in its use of perspective and narrative comment. It really does make demands of the viewer.
A&AR: I must say when the word was out that you were working on commission for a birthday flag the expectation was that you would make some reference to the birthday itself. Obviously you considered that?
Fleydon: Of course, but I dismissed that almost immediately. I am an artist, not a Hallmark Cards Dedication Writer and I was determined to focus on aspects of Sam that were for ever, not just for a day. In light of his recent free-kick prowess that seemed a suitable area for artistic exploration.
A&AR: Sam's Missile? Is that a pun?
Fleydon: Less pun, more analogy. One strong memory I have from the news when growing up was the importance of SAM Missiles in modern warfare - SAM standing for Surface to Air Missile of course. Our campaign also relies to a degree on our own SAM missile, although we hope that it goes Surface to Air to Net I suppose, rather than touching orbit*
A&AR: So we are looking at the 'Target' goal from behind the net - a Tempest View as it were - and are observing the ball eluding the outstretched fingers of a baffled keeper. And what of the gun sight?
Fleydon: The gun sight represents Sam Hatton's mental processes when sizing up the ball. A complex mathematical process takes place within his brain which results in the perfect strike - occasionally. I can't do complex mental processes so I did a gun sight instead. Clever stuff eh? The work also has this dark and sombre feel to it. Foreboding and inevitable, these are the emotions of the opposing players and supporters when facing defeat by 'SAMAGEDDON'
A&AR: Some have commented on the interesting use of a graffiti typeface. Any reason for that?
Fleydon: Well Sam's quite a young man and I believe that graffiti is quite hip in certain areas. It shows defiance and an anti-establishment stance that goes well with his image of a swashbuckling, carefree ne'er do well, swaggering his way through games. And it made a bit of a change for me of course.
A&AR: Well we here at Art & Artists Review wish both you and Sammy Hatton the very best for the rest of the season and all the more success for Sam and his Mighty Missile.

*Wags who noted the orbital potential of Sam's first free kick of the game may well have made comments of the 'Sam's Miss-by-a- Mile' variety but should be aware that a strike ration of 1 in 5 is considered a decent return in most circles

Fleydon in Perspective - Brazdon and 'Inverted Nationalism'

2009-01-25T21:34:00.013Z

Brazilian Flag Mk. 1 "The Tea Towel" Picture by Woking John

No artist exists in a vacuum - they are shaped and influenced by their environment and their contemporaries. In the case of Fleydon this has included a number of other flag painters who have made their own marks on the contemporary vexilological scene. Some of these are bright sparks who flare brilliantly and are then extinguished - others have a more lasting effect. The Art & Artist Review has sought out some of these contemporaries in oder to trace their effects if any, on the works of Fleydon. In the first of these investigations we look at the work of Wagner the Brazilian whose work is noted for its use of colour and attention to detail

Fleydon gave us his own impression of his old artistic sparring partner "What impressed me about these works was the quality of work involved. They are old-school embroidered works, fantastic quality, the sort of craftsmanship that is all to rare these days. The inversion of national symbolism to reflect a local bias is of course one of the areas I explored in "DA's Army" and I think it true to say that although we had a common attitude to our works I was always slightly disapointed that Wagner never expanded his horizons and truly let his imagination fly! Limiting himself to reworkings of a single image would always lead to an imaginative impasse. But then some claim I'm just an intellectual butterfly wheras Wagner is more a rottweiler - when he works over an idea he never lets go! But sometimes it frustrates me- just think Carnival and hot women for example, how Wimbledon is that? Really those needlework skills still have a place in the Tempest End."

Brazillian Flag Mk.2 "Quarter Flag Picture by Woking John

In tune with our artistic credentials we then sent our guest artist a series of randomly selected questions of no special merit in the hope that we might catch him off-guard and elicit a revealing response. These are his unedited responses:

WHEN DID YOU MAKE YOUR FLAG?

The original (a.k.a. Tea Towel as referred by some) saw its debut at the Surrey Senior Cup Final at Woking. That was the end of my first season as a Wimbledon Supporter back in May 2005.

The second (a.k.a. “In your face” or “I’m only just a quarter of the way there”) saw its debut in 2006 at the FA Cup away fixture to Exeter City.

WHAT WAS THE SOURCE OF YOUR INSPIRATION?

Well, not too difficult to understand this one. I wanted something which would convey the messages of Brazilians who support Wimbledon. The original (and not inspiring) idea was to have horizontal stripes of blue, yellow and green, but the green just didn’t fit well with yellow and blue – EUREKA – replace the green with blue. Then again, no green, no message of the mighty forests of Brazil. That’s when it came to me: use the Brazilian Flag with Wimbledon colours. One must admit that the Brazilian Flag is almost universally recognised due to Brazil’s success in so many different sports or maybe because everyone knows that the Brazilian President has the honour to always make the opening speech at the United Nations General Assembly (well, that one may not be so universally known).

The second, or “quarter flag” derives itself from the number of dissing comments I had that the Mark I version of the flag was tantamount to a handkerchief or tea towel. I then proceeded to work on the new design, inspired by a t-shirt which was popular in the mid 80s in Brazil.

HOW DID YOU MAKE YOUR FLAG? PAINT, SEWING, CUTOUTS ETC. DID SOMEONE ELSE DO ALL THE WORK?

They are both sewn. The first, comprises of a piece of blue material, overlaid with a yellow diamond and then the blue circle. The second consists of 2 widths of blue material with the yellow strip and quarter circle sewn to it. That saved me a lot on costs. Can you tell my mum was a seamstress?

FLAG MAKING. WOULD YOU RECOMMEND IT AS A POTENTIAL CAREER?

Not in my case. My message is pretty simple: Brazilian and Womble. In your case, you have no way of escaping. You speak through the medium of ensigns.

IF YOUR FLAG WERE A FILM STAR, WHICH FILM STAR WOULD IT BE?

The small, probably Dustin Hoffman. Compact, yet full of meaning.

The large one, probably Marlon Brando. Bigger than it should have been.

HAS ANYONE SAID SOMETHING UNCOMPLIMENTARY ABOUT YOUR FLAG? WHAT DID THEY SAY? WAS IT NAUGHTY?

Well, nothing negative. Just the usual mickey-taking. The first was too small and the second I ran out of material, apparently.

WHEN DO YOU DECIDE TO FLY YOUR FLAG? FA CUP GAMES, WHENEVER POSSIBLE, PLAYOFF FINALS ONLY ETC…

Well, that’s a bit of a sore subject. I had a bit of an emotional set back earlier this year and decided not to fly the flag anymore, wear a Club shirt or much else except attending the games. I intended to make a comeback for the recent match against Wycombe Wanderers in the FA Cup First Round. The Club asked supporters to register their intent to hang flags but I didn’t hear anything from them. Whether they were too busy to reply or didn’t want my flag to be there is something I’ll ask the Club when they are not so busy.

ANY FUNNY ANECDOTES ABOUT YOUR FLAG? IF NOT , ANYTHING MILDLY AMUSING? IF NOT, IS IT A BORING FLAG?

On the second time of hanging the large flag at our away fixture at Harrow Borough, the flag spent most of the game hanging at the wrong side of the wall due to the wind. I needed to get something to tie it down at the bottom.

I had to wash the same flag after it was completely soaked in beer at the Eastleigh away fixture in the FA Trophy. It was only its third time of use.

Not amusing but a steep learning curve.

IF YOU WERE MAKING YOUR FLAG AGAIN, WHAT WOULD YOU DO DIFFERENTLY?

I would probably work out a way to glue the layers and strips of material. Sewing is not for me.

ANY PLANS FOR A NEW FLAG?

Yep, another Brazilian style blue rectangle, with a yellow diamond and the AFC Wimbledon logo in the centre. I think it will look good.

WHAT DO YOU CONSIDER TO BE THE CORE ATTRIBUTES OF A FLAG?

It should convey your own message. I find the some of the pre-made flags with some sort of inscription on it rather uninspiring. Sorry but I think a flag should be about yourself and about your message.

WHAT DO YOU FEEL SHOULD BE THE EFFECT OF YOUR FLAG ON 1. THE PLAYERS 2. MANAGER AND SUPPORT STAFF 3. THOSE SUPPORTERS AROUND YOU AS YOU PUT IT UP 4. THE CAFE STAFF AT THE TEMPEST END

I hope the players and management are inspired by the presence of the supporters, who follow them tirelessly to demonstrate their support. The flags are our way to tell them we are there, no matter what. I think that the flags are exclusively for them, not nearby supporters or staff.

MAKING A FLAG. WAS IT WORTH IT? WOULD YOU DO IT AGAIN? WOULD YOU PASS YOUR EXPERIENCES ON TO THE NEXT GENERATION? IF NOT, WHY NOT?

I love my flags. My two children, who both support Wimbledon, love the flags. They were impressed by the number of hours I employed making them (they did say I was a bit over the top with the second one) but were keen to see the result.

Would I do it again? You bet.

Fleydon 'Imposter' sighted

2008-12-26T00:26:00.002Z

Fleydon's high public profile and craving for attention is often in conflict with his litigious nature and his almost pathological insistence on maintaining his anonymity. The result is often a confusion as to who exactly he is and what he looks like which, as he seems content to acknowledge, is no bad think for an individual engaged in the myth-making process.

"As usual I've been imitated by a raft of aspiring wannabe's. Banksy for one. That preening oaf approached me when we were playing Raynes Park Vale one Christmas, bought me a mince-pie and engaged me in a very specific conversation about Art and Annonymity. Next thing you know he's the toast of the hip-scene and everyone's asking 'Who is this Banksy?'. Well I know and lets just say that if he pushes his luck too far I might just let his precious annonymity slip. And he's not exactly pin-up material either..."

His own less than familiar visage has also led to confusion, if not outright deception. The most recent to raise Fleydon's ire appeared in the AFC Wimbledon programme dated 2nd December, produced for the Eastleigh game. Although initially suprised, but not displeased, to see that a number of his flags were reproduced in full colour, Fleydon was then enraged by an article perporting to be an 'exclusive' interview with the artist himself

"Well it came as a bit of a shock, opening it up at half-time only to see a photograph of some grinning cacafuego picking his nose and calling himself Fleydon... and then going on about 'rallying points for children' and such-like. Made me feel sick to the stomach to tell you the truth. I immediatley contacted the club who were stunned by my revelations. Immediate investigations pointed to the possibility that they'd been had good and proper by someone they now fear was an undercover Chelmsford City supporter. Envy and a distinct lack of flag-hanging space at their own ground had led some to some wag donning the yellow and blue and 'suggesting' the article to the programme staff. A photographer snaps a few pictures, they conduct an interview and 'bang', job done...

"It might be seen as just a harmless bit of fun, a jape or even - at a pinch - a bit of a wheeze. You might point out that no-one was hurt, that worse things have happened at sea. But come on, people now think I'm a bespectacled baldie with nasal problems who only really started watching Wimbledon in 2002. And as for his comments on the creative process....well words fail me. "

Fleydon has decided not to take action against the club but has engaged a firm of investigators to establish the identity of the Fleydon imposter.

"He'll be scratching the other side of his nose by the time I've finished" was Fleydon's own rather enigmatic comment. "I don't think he'll be trying that one again..."

Art in Progress "Birth of a Banner"

2008-10-29T01:43:00.022Z

In October 2008 "Art and Artist Review" persuaded Fleydon (with the lure of large amounts of cash and several cases of inexpensive Australian wine) to document the creative process behind his work. This was the third such collaboration under the hugely influential 'Artist of the Decade' feature- Picasso, Francis Bacon and Lucian Freud had participated in the 70's, 80's and 90's respectively and Fleydon was the unanimous panel choice for the 'Noughties' - an apt decade considering Fleydon's own hedonistic reputation.

The documentary found Fleydon in unusual waters as he prepared his entry for the "Tempest End All Wimbledon Open Flag Show", an occasional exhibition that brings together flag makers from all over the country with a fair smattering of overseas entrants from Norway, Jamaica and Brazil amongst others. "Bring 'em on. the more the merrier as far as I'm concerned. Doesn't bother me in the slightest." remarked Fleydon laconically "In fact I'd go so far as to say that you need the competition to push the art. For an artist such as myself it's a challenge. Like Tiger Woods playing in the Ryder Cup, the question I have to ask myself is can I adapt my game to meet an unusual situation? Now I'm about to find out."

The Flag Challenge has created so much interest that the final will be shown live on Setanta and to celebrate AFC Wimbledon have graciously agreed to hold their FA Cup 1st Round match against Wycombe Wanderers during the show in order to provide an appropriate background to the competition. "It's nice to have a bit of action in the background, provided the spectators don't obscure the flags. Setanta and the sponsors will be really hacked off if they do - and I couldn't blame them". For an artist who has made blatant commercialism and product endorsement an art form in itself this steely warning was obviously one not to be taken lightly. And so to the process of creation...

The Idea

"I've a large selection of saved or found items that I feel may be of use in future projects and every now and then one of these items forces itself into my sub-conscious demanding it be acknowledged. Such was the case with my old IKEA tab-topped curtains". Plain and dowdy, two pairs of 'natural' cotton curtains had hung to the rear of 'Chez Fleydon', the famous surreal home of the artist, until replaced with more suitable 'artistic' drapes. "I wasn't going to let them go to waste so I bought some yellow dye, shoved them in the washing machine and hey presto, four new canvas for future use. "

Step 1. The old IKEA curtains are replaced and dyed in the machine. Note how the
dowdy linen is now a vibrant yellow, though still not as vibrant as the
shimmering gauze that replaced them. After an iron they were packed in humidity
controlled surroundings until Fleydon was struck by the muse.

"During the close season I was lurking on various websites when my attention was drawn to the recurring notion of 'Identity'. In football you often here the chant "Who are you?". Intended as an insult ('No matter how famous you think you are, we've never heard of you') it actually raises an important question. Who, in fact, ARE we? At Wimbledon we pay great attention to this question. Interestingly the debate seems to hinge on one letter - 'A' and it's position as a prefix - Wimbledon FC or AFC Wimbledon? The white hot debate that this single letter can generate is amazing. It is both the Alpha and the Omega of the debate, though obviously more Alpha really if you think about it. Of itself it means nothing, but then again it also means everything. For an artist this is most intriguing - it is the gap between the conscious and the unconscious; it is the back of the sofa down which the coin of reason may slip; it is the brand mark on the Wimbledon psyche; the numbered tattoo on the survivors arm. It is both powerful and destructive, that little letter 'A'."

Fleydon took an unusual artistic stance. Instead of 'diving down the back of the sofa after it' as he put it, he decided the best thing was to pretend that the sofa did not exist. "I ignored it, cast it from my mild. As IKEA (where you can get excellent linen curtains ) would have it 'I chucked out the chintz' and concentrated on the core. And for me that core is 'Wimbledon'. Embrace the essence, discard the peripherals, accentuate the positive and, as a result, eliminate the negative."

As usual Fleydon's initial thoughts took shape on his computer. "I'm thinking of banner rather than flag, long enough to proclaim the message but avoiding mention of either AFC or FC. It will be a call to core values. It will be an anthem and a clarion, Roland's horn and the football kicked across the trenches all rolled into one. It will be a giant car-sticker on the rear view window of the ground (for surely that is the role of the Tempest Stand). It will be marvellous!"

Step 2. The basic layout was based on a car sticker with a bold statement of identity backed by the rollicking lyrics to an historic Wimbledon battle tune. The
intention was to leave stupefied outsiders in no doubt that indeed, Wimbledon were back in town.

Phase Two: Getting down to business

"Having decided on the design I set to work. I tend to start at about ten in the evening as soon as Mrs Fleydon and all the small Feyldons have gone to bed. Then I can concentrate on the work in hand." Although he tried to conceal the fact, hidden cameras caught Fleydon taking the image to a place of work where he pinned the canvas to the wall and projected the two crests upon them. Having drawn the outlines in pencil he had a faint guide to the images.

Step 3: The images are projected onto the yellow canvas and pencil is used to pick out the key features. (we were refused access to the workshop for this part of the process)

After returning to his studio Fleydon then expertly sliced a bin-liner with an ancient cut-throat razor, inverted the canvas and inserted the thin sheet of plastic. " I don't often work with a canvas of two layers, but if I do I don't like the paint to seep through. It offends my sensibilities.. This will stop it short". Although a sensible precaution the addition of a plastic table cloth suggested that the fear of upsetting Mrs Fleydon was a significant factor in the preparations.

Step 4: A plastic insert helps prevent the paint seeping through onto the table beneath.

"I like to start with the white background when doing a crest. I've two separate crests to do but I intend the yellow dye to act as the background for the FC crest, so that will only require some blue paint. AFC is a right pain though...." Fleydon furrowed his brow in concentration. "So many crinkly bits. It's like the coast of Norway."

Step 5: White emulsion is used to produce the background. The black elements will provide sufficient contrast, so it doesn't have to be too thick.

"The black on this particular crest gives it the power and definition. I like to leave it until last so I'm now filling in the red elements of aggression - beak, talons and eyes. I must admit to a certain frisson of excitement at this juncture..."

Step 6: Red emulsion (Poppy from the Homebase tester pot collection) is used to define the 'areas of aggression'

"And now for the solidity of power - the black. But here I must use a mixture of brushes to ensure the lines are no crossed. The paint itself is thick, turgid and difficult to spread. I would normally dilute it, but this particular weave will suck and absorb any liquid causing blotching and staining. So I persevere, long into the night, determined to at least complete the outline of this magnificent beast."

Step 7: Fine brushes define the outline whilst leaving the larger expanses for less delicate application

It is now 2am and Fleydon has had enough painting. "Come on! Open the wine - I've salami, olives and cheese. Time to make a night of it!" We make our excuses and leave...

Next time: Fleydon tackles the Wimbledon FC crest - but an artistic crisis ensues.

The following day Fleydon was already at work when we stumbled into his workshop in the early hours of the evening. "You're late. Come in. Shut the door. I have, as you can see, begun..." With his blue fabric pen Fleydon had blocked out the outlines as a guide. "A risk, but not a great one. When it's painted in blue, no-one will be any the wiser"

Step 8: The Wimbledon FC crest. Having been projected onto a second curtain and outlined in pencil, the image outline is further defined by blue fabric pen in preparation for the blue paint.

Fleydon then set to with characteristic fervour and vim. When we left him he was still at it, paintbrush slashing here and there, his eyes aglow and a thin sheen of perspiration glistening on his brow "I'll see you tomorrow. And next time bring beer!".

Our return the next day was in stark contrast to scene of concentration and excitement of the previous evening. Fleydon was bleary-eyed, clutching a near empty bottle of Lidl Sangria "Two problems I've got. Not one like anyone else but TWO. How fair is that then, eh?" After much coffee and some of our reserve gingerbread, Fleydon explained his crisis. "First off it was a mistake to rely on the yellow dye on the FC crest. It doesn't stand out and compared to the AFC crest it is plain, dowdy and unassuming. It's supposed to be a meeting of equals dammit!!I mean look at it. God knows I even tried painting a different coloured yellow over the dye but that didn't work. Pathetic. I've decided to leave it, but it will mock me every time I look at it."

Step 9: The crests are not the meeting of equals that Fleydon hoped.

"My second problem is of a different order of magnitude. I can't position the lettering until the two halves are joined but that will make a banner of nigh on 14ft. Where can I find a wall that big?? This last comment seems to be a reference to his use of a projector to aid with both depicting and sizing of letters. Today, it seemed that all the modern aids were going to be useless. "I'll have to use the old ways" Fleydon remarked ruefully "Pencils, rulers and ages spent on getting the spacing right. With the smaller lettering I can use photocopies as templates,but even that's a pain. I'm beginning to wish I hadn't started now. Ambition will be my downfall..."

Step 10: The smaller lettering is printed out and checked for spelling errors. Looks good so far...

Step 11: At home Fleydon cuts out the shape ready for a rough positional fitting

Fleydon stood on a chair and looked down at the roughly positioned cloth and paper, now for the first time taking a semblance of its final form. "The positioning looks good and the sizing just about acceptable. Now I have to prepare myself for the joining of the curtains. At that point the banner is born and takes on a life of its own. I then act as nursemaid to the lettering. My least favourite aspect. Give me an interesting image any day..."

Step 12: And a final check shows that the minor problems are not insuperable.

"I'm beginning to find this discouraging. It's not like art as I know it, more graphic design, but maybe that will all change with the ceremonial joining of the halves tomorrow." Fleydon sighed, took his blanket and headed for bed. It would seem that even the greatest of artists can be discouraged in their work

Next time: The Ceremonial Splicing of the Curtains. Make or break time... and then the lettering beckons

When we next spoke to Fleydon he was anxiously awaiting the return of his banner from the outworkers to whom he had entrusted it. "I don't do sewing. That's not my role. I'm the creative force and I tend to leave the basic stuff to professionals. Beside trying to thread up one of those machines is a nightmare. One thing's for sure though, if they muck this up I'll have their guts for garters."

Step 13: Sweat-shop labourers are forced to work long hours for a pittance as Fleydon 'out-sources' his sewing. The two separate halves are united into one banner.

The banner is returned safely and now the spacing of letters can be attempted with some degree of confidence. "The ruler is out and now I have to position the cut out letters in an accurate manner. This is no time for a wobbly hand or faint heart. After tracing around them in pencil I redo it in a felt-tip pen and finally follow it up with paint. It is a long and arduous process. It's a drudge really but at least the letters are manageable. Next up is the main WIMBLEDON lettering, but first I have to establish how much space I have to play with. Excuse me whilst I crack on..." With that Fleydon impatiently waved us away. His head bowed, he had lost his characteristic exuberance and seemed resigned to the long haul. Could we be witnessing the cracking of a great spirit under the twin strains of typography and a deadline?

Step 14: Paper letters are positioned, drawn around then disposed of. Felt-tips mark the edges, a broad brush establishes the outline before a coarser brush is used for the infill. Now Fleydon can establish the size available for his main message

Next time: In the home strait Fleydon struggles to come to grips with his main message. Is 'Wimbledon' just too big for him?

Fleydon had regained some of his old spark when we next spoke to him "Yes I admit I was despondent at times but that's all part of this alchemical process I like to call genius. Now, at last, I have defined my problem. I have a space in the middle of my work 65 cm x 220cm and that space is earmarked for 'Wimbledon'. Using Word Art I wrote out Wimbledon in capital letters and tried and rejected a number of typefaces, looking for an easy but effective visual experience. I then pulled and twisted the text until it was the same ratio on the computer - in this case 6.5cm x 22cm. Then it was a simple case of measuring all the significant elements on paper before scaling them up." Fleydon through back his head and gave a leonine roar of laughter "Easier said than done though. This was on a big scale. Still a work of genius mind you..."

Step 15: The printout is measured an used in turn to define key elements for the main text. Note the delicate scribbles and the consideration absorbed in this draft copy. Deep thought that reminiscent of Da Vinci. Ignore the black paint.

The initial working were completed in pencil but when generally happy overall with the positioning they were reinforced in felt tip. The next stage involved use of a fine brush to establish the edges before the large brushes can move in with impunity. As Fleydon commented about his work on this project "My imagination was dulled with such drudge work but by god it's what your right arm's for, it really gets you back to basics. Especially when you cant even get hold of a decent metal 1m long ruler and have to make due with a straight lines from an old Venetian blind!"

Step 16: The measurements are painstakingly transferred leaving a faint pencil outline on the sheet. This is reinforced with black felt-tip marker, just about ready for the application of the powerful blocks of black lettering

Later that evening we found a flushed, exhausted but triumphant Fleydon smeared in black paint, greeting us at his door. "I did it, it nearly broke me but I did it. Cleared me out of paint though - I had to replenish my stocks of Homebase Masonry tester pots, black with a smooth finish, finest black paint on the market. I did use textured finish once, in error, but it was a disaster. Anyway, on it went in bulk, on by far the most expansive area of black in my whole oeuvre. It's taken me hours and now it's up to dry - and what a surprise for my daughter on her birthday. I bet she'll love it. Not that its for her though. Far too valuable for playing with..." We were ushered in to the inner sanctum to catch a glimpse of it hanging in situ, drying gently in the still morning air. It is no exaggeration to say that we were struck with both shock and awe. Our first impression was that it was both perfect and complete. But for a genius such as Fleydon there was always more to do. "Finished? Not yet, now comes the dressing and the practicalities of hanging. But I can take a step back and have a few day's breather. I'm not as young as I used to be. Art takes it out on you, both physically and mentally."

Step 17: Hanging out to dry in all its Glory. But still, as yet, unfinished.

Next time: Finishing touches as Fleydon considers the coming competition

Come the day of the exhibition and Fleydon is on site early. "A true artist will always consider the positioning of their work. It can make or break you." It was also apparent that the tabs had been removed and some re-positioned above and below the main message. "Hanging tabs you know. Very important for the final look of the piece. It's attention to detail that impresses the judges and I've got attention to details in spades" The main stand is filling with works of art all vying for the top spot and the accolades that follow. "I'm mainly interested in the art groupies" remarks Fleydon casually, "Although the money comes in useful of course."

Step 18: The end tabs are removed and a number repositioned along the top and bottom to give secure anchorage points

Modesty forbade Fleydon from telling us how he did in the "Tempest End All Wimbledon Open Flag Show" but press photographs shows both team and mascot stunned into silence at the quality of the art on display and Fleydon had a smug, self-satisfied smile when we next met him. "Lets just say that I'm having a very nice time at the moment and am looking forward to reprising my performance next year." He gave us a wink before turning and making his way back towards his studio. We couldn't help but notice the close attention he was receiving from several excited young women clutching portfolios and bottles of wine. It seems the old lothario had struck gold yet again...

AFC Wimbledon look over-awed by the quality of flags on display, especially 'We Are Wimbledon', the sight of which sent them into a stunned silence. They later lost their FA Cup 1st round match 4-1 but Man of the Match Luke Garrard admitted concentrating had been difficult "We kept on wanting to look at the flags...I mean football's all well and good, but everyone knows that vexillology is where it's at. It's where all the best looking girls go and the guys are so well paid and everything. Sometimes it's so frustrating knowing that however good with home-made paper flags you might be, to get a flag up there it's a whole new ball-game. But credit to them, they're the professionals" .

Appendix 1: "No Worries!"

2008-10-18T21:39:00.001+01:00

A 'yellow and blue' depiction of cult hero Alfred E. Neuman helped to steady Wimbledon's nerves following a John Main goal drought and a couple of less than reassuring performances. Talk was in the air of 'wobbles' and of striking partnerships not quite coming off and this, allied to a couple of shaky defensive performances (albeit tempered by keeping two clean sheets against Dover) had persuaded Fleydon that it was a time for cool heads and a sense of perspective. The calming presence of Alfred E. Neuman ("What - Me Worry?") overlays a faded but still present 'will to win', as represented by the club crest. True, the crest is somewhat faded - representing as it does the cathartic release provided by promotion , but the aggressive red beaks indicate that the predator can never be satisfied with the status quo. Stamped across the crest is the answer to Alfred's unasked query and proof of the supporter's faith in their team "NO WORRIES" - no worries that we will prosper, no worries that we will win, no worries that John Main will start scoring again, no worries that Wimbledon are, indeed, the greatest team the world has ever seen.

Appendix: After the Exhibition

2008-10-18T21:28:00.004+01:00

Following the successful conclusion of the Tate Modern's Fleydon Retrospective, the artist has produced further works that continue to work on his themes of alienation, wonder, sex and AFC Wimbledon.

As an appendix to the official catalogue we are happy to provide details of more recent works as well as profiling other contemporary flags that often flew alongside those works featured in the Fleydon oeuvre. It may be that scholars of the future may be able to detect terrace influences and themes that are not so clear to those of us so close to the action, and it is to these scholars of the future that we dedicate these entries.

Composition on a Pagan Theme ("Stick Ra")

2008-04-29T23:46:00.013+01:00

And so we come to the final flag in what has been a most spectacular and enlightening exhibition. This last exhibit brings the Fleydon story bang up to date - and what a curious work it is. Small, apologetic almost, it oozes a quality not seen in any of Fleydon's previous works, that of...humility.

"We were approaching the play-offs. The tension was unbearable. Grown men were ashen-faced and women whimpered and shook with tension. It was a terrible mix of 'deja vu' and dread. No-one dared express confidence for fear that confidence be shattered. It was a strange and terrible time. The best of times, the worst of times. Personally, as an artist, I felt
powerless. For two years I had shouted defiance, screamed at our adversaries,' taunted the fates...and what had it bought me? Two play-off defeats and the thrill of being turned over by every relegation-threatened team in the league. Whatever I thought I was doing wasn't working. I was drained and at the end of my tether. And you know that's when I started hearing the voices..."

Felydon's aural delusions coincided with a period of religious and personal upheaval. Having professed most of the orthodox religions at one time - attracted more it seemed by the regalia, interesting smells and obscure imagary than by any true conviction - Fleydon now found himself looking for solace in an unusual place.

"Of course I'd heard of Stick Ra, but I didn't know much about him. He doesn't thrust himself at you like some Gods might, you know... Anyway I saw a picture of this powerful, shamanic figure and I knew that, at last, I was coming home. Everything made sense. Everything was right. When I looked at his totems and fetishes, his cheeky mask and his nut-brown Ghandi legs I knew I'd found what I was looking for."

Just in time for the Hornchurch game Fleydon prepared a simple expression of hope. It took the form of a sincere and very humble appeal to Stick Ra to, 'if it wasn't too much bother' protect and deliver the team and its supporters from the Rymans League.

"I didn't fly it in my usual pace, but chose an isolated corner of the Tempest and didn't put it up until just before kick-off. I spent most of the game in silent prayer and - Stick Ra's name be praised - we overcame the Urchins to progress to the final. I learnt a big lesson that day. The Meek Shall Inherit the Blue Square South. I intended to be meek from that day forth.

In design and concept I suppose I was influenced by those Tibetan flags whose fluttering carries their message to the gods above. Except that I had to tie mine down of course as it gets a bit annoying on a windy day and people who get hit by it's flailing edges can get slightly annoyed, but the message seemed to get through anyway. To be truthful I felt it was a flag flown for me, for my benefit, not crowds... and that made it a very powerful and
spiritual tool. Even if it looks a bit boring."

Now describing himself as a 'Stickrologist' Fleydon is happy to pass on a sizeable percentage of his income (or 'tithes' as it is referred to), as well as the undoubted cache of his name for the furtherance of the Latter-day Church of Stick Ra.

"I don't define myself as an artist anymore. I'm an acolyte and a seeker of the true light, currently undertaking instruction from one of the Elders and searching for the hero within. Let me witness that, despite what the Daily Mail says*, it's a great organization, a holy organization and with luck it'll see me through to the Conference National. In the meantime, and until it does, can I ask you a question? Are you worried about the state of the Earth at this moment in time...? No? Well maybe you'd like to read 'The Flag-Tower'? Come along to
one of our informal cake and pie nights? We have virgins you know...?"

Leaving Fleydon, with his radiant face and supine posture, I can only hope that this negation of the artistic within him was a temporary measure. Throughout the exhibition tour he had blown hot and cold , ranted and raged, sworn and smiled as he relieved the traumas and emotions of a an extreme artistic life. If nothing else he had always been a cauldron of emotion but here, right at the end, it seemed the cauldron was on simmer and the flame turned low. Whether he ever produces another work only time will tell but surely even the opiate of religion will be unable to quench such a mighty soul for long?

Composition on a Pagan Theme ("Stick Ra") is the property of The Stick Ra Religious Enterpise Co. of Florida.

*"Weeping Stick Ra Image In Stained Towel 'A Bogus Fraud!' Lady Di Trial Told"

Daily Mail 14 August 08

Composition in Navy Blue and Flesh ("Whole Pitch")

2008-04-21T17:27:00.007+01:00

Can there possibly be a work of more intense intellectual significance than "Whole Pitch"? This is a creation that is so often referenced as a synopsis of the whole cult of 'Western Male Anxiety', a work hailed and revered by such diverse groups as Marxists, Feminists, the Avant Garde and the Wandsworth Prison Warder Association, that to review it here seems almost sacrilegious. And yet for a work of such depth and profundity it seems so ... innocent.

Fleydon himself is so convinced of it's importance that he insisted a whole room of his exhibition be dedicated to this single flag.

"I am by birth a Western Male and it is the vision of the Western Male that has shaped the world in which we live. Like myself, this work is charged with a profound sexuality and unfathomable depths of both power and vulnerability. Truly a soul-baring experience both to create and to contemplate."

Standing together in the dimly lit room, the back-lit image resplendent before us, I felt a shiver of excitement run down my spine. Looking across at Fleydon's fine, leonine profile, his thatch of golden hair swept back, mane-like over his broad shoulders I found myself caught up in the majesty of the moment. When Fleydon turned and looked at me with his slate-grey eyes I felt truly transfixed, a moth caught in the destructive light of his bright candle.

"It's all in the eye you know" he said slowly and with a calm, measured voice "The 'Male Gaze' beloved of cinematic auteurs. Voyeurism. Peep-Shows. What the Butler Saw. The Private (Prying?) Eye. The inescapable fact is that the whole of Western Male sexuality, and therefore Western Art, is based on the concept of the all seeing, all devouring, yet distancing, eye. To see is to objectify, to render the object of the gaze less powerful, less threatening, less unknowing. Typically the female form, of course, with its uncertain depths of devouring fecundity, but the Western Male's need to see, record and list and control spills over into other areas of anxiety. Life, death, religion .... and AFC Wimbledon.

Anxiety is the common currency of all male supporters, myself included, an anxiety centred, of course, around notions of performance. Performance is the dread yardstick by which the supporter nervously measures himself against his peers. 'We didn't perform today. Will we perform next week or are we now too anxious?" Such corrosive attitudes can only be held in check by the Male Eye diffusing the anxiety by observing and objectifying that which is laid before it. A barrage of facts and figures line-ups, whose in , whose out, points lost, points gained, goal difference, shots on target, bad refereeing decisions, all are noted and recorded by the gaze.

'We must have been watching a different game' they cry, and so of course we were. We each watch the game that serves our needs. We each take from it what we need to see and want to see. In a very real sense NutsTV provides us all with football pornography, edited highlights that reduce the anxiety, even when we withdraw in limp defeat."

So much more has been written on the inherent anxiety symbolism within the work by the likes of Camille Paglia and Germain Greer that we must step back a pace and accept our limitations, both of space and time. However I did broach the fact that the male depicted had only one eye. Was there any reason for that? And what of the slogan 'I can see the whole pitch from here, and the Dons are all over them!' ?

"In brief, two eyes imply depth of field and vision. A single eye, however, is a concentrated burst of light, transfixing in a second. Think of HAL, the Eye on the Tower in Lord of the Rings, Bunuels symbolic slicing of the eye (female this time - we can brook no competition!), Daleks and the mighty Cyclops. I htink we can say that Eye = I (see) squared."

He gave a faint smile and continued

With regard to the text, the 'Whole Pitch'? is an obvious metaphor for the bed, scene of primal anxiety and displacement - Have you ever thought of the range of activities men use to distance themselves from the emotional envelopment of the female? I ask you, what are fantasies of cuckoldry, sex toys, lesbianism and even bestiality? Obviously they are nothing more than projections of male anxiety, hasty barricades erected against rampant, emotional, devouring nature of female sexuality. By allowing something more reliable, more willing and more able to step in the anxious male can remove the anxiety (I can't fail if I'm not present) and retire to preserve his fragmented feelings of control through his 'controlling' gaze often represented by his camera or video recorder. Not that I have that problem of course, but I believe lots of others have and they tell me all about it.

Then there's the exultant shout 'The Dons are all over them!' - sexual again of course, I mean do you want me to draw you a picture? Or better still would you like a discreet photograph or two or two?

Uncertain of his intentions and wary of the sudden glint in his eye, I declined his offer and we moved on in uneasy silence.

3.9 Composition in Navy Blue and Flesh ("Whole Pitch") is on view courtesy of the Heffner Foundation, Las Vegas.

Composition in Rainbow Hues ('Trust')

2008-03-29T19:03:00.005Z

"Up until this point in my career I had sneered at commissions, regarding the filthy lucre as tainted money that despoiled the pure fountain of art. However the impending divorce from my estranged Nigerian wife Constance left me somewhat...on the back foot. When the Dons Trust came knocking I was in no position to decline their generous offer"

Constance Fleydon is a shadowy figure in the early life and career of the artist and little is known about her, other than rumors that they met through an elaborate internet marriage scam that went badly wrong. Cited by many as an early muse she has, over the years, achieved a reputation in Fleydon mythology akin to a combination of Lucretia Borgia, Yoko Ono and Winnie Mandela, which is no mean feat for a woman of whom no known photograph exists. Fleydon's muttered retort that 'vampires don't leave an image' is an entertaining but fanciful explanation for her uncanny ability to maintain such a low profile

"The Dons Trust brief, such as it was, consisted of the phrase 'JOIN THE TEAM' - apart from that I was left to my own devices. What emerged was, to all intents and purposes, a fine example of inclusivity and harmony. A set of people of all hues and genders joining together to embrace, protect and empower the whole concept of AFC Wimbledon. A very tidy design, I think you'll agree. Certainly the clients were well pleased and the art world responded positively to the work, noting and enjoying the restraint that such a brief imposed upon me - I recall one buffoon remarking 'The wild rose clipped produces the sweetest flowers', which just goes to show what he knows."

Pulling on my tie to bring me down to his own, wheel-chair bound level he smirked and hissed his confession in my ear

"Actually I was pretty pissed off with Constance who fleeced me before running off and setting up shop with a newsagent called Hector. What made it worse was that Hector was a friend and ex-body model of mine I used in my 'Tom of Finland' phase and he was able to supply Constance with certain...err...'facts' that I didn't really want exposed to the tabloids, especially regarding my 'predilections' for engaging in certain 'activities' whilst wearing Dons garb. Not that we haven't all indulged, of course...just that some of us would prefer it kept under wraps, as it were. As part of the terms imposed upon me I was to maintain a silence over the details of the settlement. But there's more than one way to skin a cat - allegory and imagery are part and parcel of an artist's mental make-up. What the picture actually depicts is less a vision of gender and hue embracing a common cause, but my two 'face-less' friends the body model and the invisible woman, publicly hanging me out to dry just before dropping me altogether."

He shook his head ruefully before concluding

"As a wise sit-com character once remarked - 'Tricky chap, Johnny Marriage'..."

Composition in Rainbow Hues ('Trust') is the proud property of the Dons Trust, owners of AFC Wimbledon. It will be flown annually as part of the traditional 'Post-Voting' Membership Apathy Round-Up Festival.

Composition in Yellow, Blue and Spanish ('Frankie')

2008-02-29T18:49:00.008Z

(Background – Following the announcement that club stalwart Antony ‘Frankie’ Howard was leaving the club for America, Fleydon was apparently approached by both the Cuban artist Jay Cee and a representative from the secretive but influential Kent Wombles association. Telephone records indicate that their radical proposal was for Fleydon to produce and lend his name to a flag designed by Jay Cee and to be commissioned and presented by the Men of Kent. To the surprise of many Fleydon appeared to accepted this minor role, especially in light of his recent comments that he “must be left free to plough my own damn artistic furrow – however wobbly it might be”. However events on the day belied this backroom status as Fleydon seemed to dominate proceedings with tannoy announcements, public signings, special all-access clearance to the President’s Lounge and the total usurping of the post-match award ceremony. This exhibition of preening self-congratulation and obsequiousness was of Winkleman-esque proportion as Fleydon took every opportunity of projecting and promoting both himself and his works in a shameless display leaving the assembled audience stunned and embarrassed. For some reason neither Jay Cee nor the Man of Kent were present for the ceremony and their current whereabouts are unknown. Relatives are highly concerned and appeal for anyone with information to make themselves known.)

The 'Commissioned Work' has a long and and distinguished history in the world of art - the Sistine Chapel being one of the more notable examples - but it came as a surprise to find that that Fleydon was happy to accept not only a commission, but also to work in collaboration with the Cuban artist Jay Cee. For an individual renown as having an ego the size of a Hillman Minx what, I wondered, persuaded him to contribute.

"I could say it was the stimulating need to justify my ideas to a co-worker; I could claim that a co-operative work was a suitable tribute to a great servant of the club; I could claim that it was the challenge to work within prescribed limits that intrigued me. However, to be honest I figured that I wouldn't have to do much myself as passable flag had been designed already (and lets face it I'm far more famous than that Cuban lothario and every one would think it was my design anyway). There was a good chance the finished work would end up on the box with my name associated with it and a good chance I would probably appear in the next matchday programme. I had heard that 'Hello!' magazine were sniffing around as well so with just a bit of extra effort on my part I reached a whole new market. From my point of view this was a win-win situation all round and, as they say, all publicity is good publicity!"

With a wink and a cocky-cockney saunter Fleydon moved on down the line to his next work leaving me both disheartened and disillusioned. Had being labeled "The World's Greatest Living Artist" finally gone to Fleydon's head? His willingness to profit from others hard work in order to make a quick buck reminded me of Salvador Dali, another of the infamous 'Fleydon Circle'. I felt obliged to reconsider my attitude toward this icon. Was Fleydon, in fact, less an artist and more an arrogant sh*t? Once the seed had been planted I found myself watering it with the corrosive moisture of doubt and with the genius removed Fleydon did seem to have more than his share of character failings

Composition in Yellow, Blue and Spanish ('Frankie') is presently on its way to the USA where it will be flown every 4th July. Since being signed by several Wimbledon luminaries the flag has rapidly increased in value and is currently insured for double figures.

Composition in Words ("Victory")

2008-02-15T18:38:00.002Z

"I'm not happy with this work and I fought hard not to have it included in this exhibition but, hey, what can you do?"

Fleydon almost slouches as he draws his rounded shoulders tight around his neck, reminding me of both James Dean and my Aunt's pet tortoise Flash. He continued with his explanation.

"It's not because of the content - a homage to very dear friend no longer with us - nor because of the intellectual basis of the work but really because of the execution. It suffers through my mistakes and like Frankenstein repelled by my own creation, I am both attracted and repelled in equal measure."

Fleydon pointed to the work with his furled umbrella, waving it over the canvas as though still engaged in the act of painting. There is a discernible sense of disappointment about him and a large sigh wracks his frame.

"They say a picture is worth a thousand words but my dear friend Guy Debord* disagreed. He believed that words can conjour up a myriad of mental images especially when the words are chosen with care - a powerful weapon against injustice in hands such as his. Would the rioting Parisian students of the '60's have found inspiration in a Banksey? I doubt it but they did find inspiration in the words of Guy and what is so wonderful to me is that what was true of the young revoloutionaries of Paris is equally true of Terry Brown. Hard to believe? Well it might be seen as a case of convergent evoloution - a similar response to circumstances. Consider the immortal phrase ... "Victory will be for those who create disorder without loving it" - I ask you, what is that other than a succinct summary of Terry's declaration of intent that 'we will win playing football, but if necessary are prepared to 'win ugly'?

Fleydon fell silent again and I tried to gather my thoughts together. It seemed to me that here we have a work that consciously rejects the image for the mentally stimulating power of the word; that then pays homage to a close personal friend and fellow revolutionary; that also echoes the ethos of a team aware that victory can sometimes only be achieved by a disruption of harmony in the opposition - however unaesthetic that may be to the viewer. What, I wondered, could Fleydon find so wrong?

"Execution dear boy. Firstly I bought a king-size canvas in error, which means that the work is inevitably obscured (as in the photo above) and secondly my 'Victory' is far too small. It should have been the word that carried the work but instead the focus is on 'Disorder' and what sort of message is that to send out? I screwed up big time on this one. Guy must be pissing himself laughing"

Composition in Words ("Victory") is currently on loan to the 'Tea Hut Wall Gallery', Kingsmeadow

*Guy Dubord - Situationalist and Marxist Revoloutionary, was a friend of Fleydon from their days together at Stowe and their membership of the Mildenhall Hunt. Dubord delivered the oration at Fleydon's marriage but their relationship became strained in the mid 80's when Dubord declared everything - including Fleydon - a product of his own imagination, a situation Fleydon naturally found intolerable.

Composition in Leather and Whiskers - "Every Shot Counts"

2008-02-09T23:34:00.004Z

'Ambiguity' is a word that critics often use when attempting to fathom the works of Fleydon. For those not as clever as critics like me this is often seen as a startling statement. 'How can this be so? Fleydon's flags are clarion calls of clarity, as obvious and loud as a street barker selling his wares. How can this be ambiguous?' At first glance this may appear the case, but consider this - the lowly street barker may indeed have a clear voice but what of the ambiguity, the double-entendre, the allusion and, especially in the visual field, the illusion? Exhortation to simpering girls to 'Come and see my cocoanuts!' and winking asides to middle-aged women to check out his 'prime slab of beef' are hardly literal requests!

So it is with Fleydon. When faced with the blank command to Make Every Shot Count, a wise man will pause, take stock, step back a pace or two ... and consider their response.

Fine words butter no parsnips, my saintly Nan once advised me, adding as an afterthought that I should also remember that the devil is in the detail and to always read the fine print. Wise sentiments that have stood me in good stead over the years.

On an objective viewing my suspicions were aroused almost immediately. Where is the crest, the team strip and other obvious visual Wimbledon insignia so prevalant in Fleydon's work? And then there's the man himself, elderly with a full set of whiskers, his eyes wide open and in his hands a weapon - quite possibly a Winchester Repeating Rifle, although the detailing is a little obscure. What are we to make of him? I confess I found myself more and more perplexed the closer I looked. What was it that Fleydon was telling me here?

Time, I felt, to go back to basics and to examine the obvious.

We seem to have a simple message here: Shots at goal are a good thing, but only when they are decent efforts. Blazing over the bar is a waste. Careful shooting is the order of the day then. So far so good and Fleydon chooses to illustrate this dictum with a picture of a cowboy, in the hope that wayward forwards can make the link. Simple and straightforward - no room for ambiguity here. And yet, and yet... something did not add up...

The figure has a grimy yellow neckerchief, it is true, and a sweat-stained blue shirt. But the eyes are wide with fear, the clammy hands locked on to his weapon with a rigidity of sheer terror, not with the usual relaxed insouciance of a Wimbledon player ordering his pint at the bar. He is old, bewhiskerd, befuddled - he's not even aiming his weapon and for all his hardware he looks, well, impotent? The signs were all wrong, I felt a sickness at the bottom of my stomach and my mind was literally spinning as we stood before the canvas. Surely that man couldn't be a Don? What on earth was going on in Fleydon's mind? What was he telling us?

And then it hit me. Just as Colonel Kurtz was struck by his revelation in the jungles of Vietnam, then I too saw everything with a clarity and precision. It was so neat, so obvious and so right. The clue was in the motto Bushwhacked by the Womble Army. Well it was already clear that the old man wasn't a Womble and describing him as an 'army' was laughable and besides bushwhacking is a young man's sport (or certainly was in my Prep School). It was then that the crystal sliver of comprehension pierced my brain. He wasn't the 'whacker, he was the 'whacked!

Everything fell into place - the bewhiskered old man was symbolic of a senior yet decrepit adversary fallen on hard times, as an archetypal 'cowboy' he represented shoddy performances and lack of quality, his yellow and blue were actually the colours of Torquay United, not the Dons, and the fear in his eyes was induced by the sight of lean, hungry and young Wimbledon players laying siege to his goal. He has mentally 'circled his waggons' and has the air of one who knows his time has come. Make Every Shot Count was the instruction to our players aiming to finish him off not advice to a man with flaccid and damp cartridges. Again it reminded me of Kurtz, the symbolic cow ripe for slaughter and scrifice.

Ambiguity? I'll give you ambiguity....this was masterful misdirection that really forces an intellectual gyration from the viewer. Quite brilliant!

Fleydon, however seemed un-moved by my analysis.

"Yes, well, maybe... there might be something in it I suppose. Artistically I was happy with my work but a fat lot of good it does if the opposition refuse to take the message on board. My obvious mistake was to depict the 1879 Winchester, not an earlier model. The 'Gun that Won the West' looks as though it did the job for the South-West as well. And as for my close
friend Roscoe with his cowboy name and his 'love of the club'? Ha! Less The Man with No-Name and more Bang, Bang, My Baby Shot Me Down. I always prefered Shane anyway."

With that Fleydon turned abuptly and moved on. My exposition had been terminated. With extreme prejudice...

Composition in Three Parts ('The Mystic Triptych')

2007-12-03T22:57:00.001Z

Some great works are recognised the moment they are seen but others often have to wait for their time to arrive. Fleydon has no doubt that Composition in Three Parts : The Mystic Triptych will prove to be not only his magnum opus but also his chef d’oeuver to boot.

“For the time being I am content that it lay there, open to the gaze. It is not necessary that people should leap about excitedly, throwing themselves about in a frenzy and exclaiming my genius to the heavens. In this case that would be entirely the wrong reaction. What I see in the eyes of the masses is a questioning, an understanding that something is going on here far beyond their ken. But they will grope their way toward enlightenment and they will find the journey worthwhile, of that I am sure. Except possibly the Brazilian gentleman who questioned both my sanity and the direction in which my art is leading me - a reaction which I fear shows a more philistine attitude than that I have come to expect from the Tempest End. But no more of that…I have a question of you. Please, would you care to tell me what you see in these pictures?”

Fleydon leaned back in his bath chair, rested his chin on his folded hands and fixed me with a gentle but querulous look. Caught unaware I could only make some ineffectual remarks about ‘Knights in armour’, some fairly inflammatory titles and then, in a stroke of inspiration, I recalled and remarked on his boyhood fascination with tales of Agincourt and other Mediaeval battle mentioned in our first ever interview. I was immediately rewarded by his craggy countenance softening into a smile.

“Well done, you are making a start. But only a start – forget the rest of your nonsense and concentrate on the mystical power of the mediaeval tale. The first flowering of the narrative. Often based on Latin, or ‘roman’ texts what you are seeing is a true ‘romance’ writ large!!”

Fleydon staggered to his feet and threw his arms open wide as though to embrace his work before the sudden exertion took its toll and he slumped back into his chair

“For many acolytes AFC Wimbledon is so much more than a team - it is a ‘romance’ in the deepest sense - and what is more, it is a ‘pure’ relationship, unsullied by the degradations of the physical – well, with some unfortunate exceptions anyway. And what better analogy for such feelings than that of the chivalric romance with overtones of religious fundamentalism and a dash of righteous fervour? We are all Crusaders here, you know!”

Fleydon laughed a joyous peal of laughter that sounded not unlike a small church announcing deliverance from the plague. He then paused to wipe a fleck of spittle from the corner of his mouth before continuing

“Being inspired by the 'Roman-ces' it was entirely appropriate that they should be painted on old Roman blinds from my front room,, a fortuitous but significant coincidence. There may be questions from some from the 'big is beautiful' school as to their size but what I hope will be apparent is that these are in fact miniature flags, designed as processional banners or khorugvs rather than for flagpoles. Until summoned for their final climactic act they will rest in the Tempest End, the club’s undeniable iconostasis. Come that fateful moment they will be taken down to be carried at the head of a victory procession that will stretch along the road as far as the eye can see. The hushed masses of Wimbledon will finally celebrate Ascension Day, and leave the Rymans (rhymes with 'Romance'?) beneath us. “Next year, Blue Square!” as the traditional toast goes!”

So why three banners? Why spend so much time these, admittedly exquisite, miniatures when a single bigger banner would have sufficed.

“It is a fair question at first glance, but you overlook the power of three – “Three..” as the recent pop hit points out, “…is a magic number”. We can never underestimate the significance of the Trinity; Father, Son and Holy Ghost; Faith Hope and Charity; Groucho, Chico and Harpo; the Lion, the Witch and the Wardrobe all groups of that hallowed number. And most pertinent of all given our play-off potential, THIRD TIME LUCKY! It also allows the showing of three aspects of our crusade, our ‘three-pronged attack’, our ‘three coins in the fountain’ or even, our ‘three faces of Eve’. Three, I need not also remind the purist, is when all Saturday games should commence. One I’m afraid, just wouldn’t cut the mustard.”

Concluding his introduction to the context in which the works were created, Fleydon then grasped my elbow and pointed out some of the facets unique to each of the works

Left Panel: Scourge of the Unworthy

“Pure in radiant spirit, clean of attire and looking for something nice to do, here the Spirit of Wimbledon is looking to lead by example. The flowers are symbolic of Dorothea of Caesarea, a martyr who was forced by the authorities to make a foul choice. She chose her own route and was martyred for her steadfastness. I salute and recognise her as a spiritual Don.’

Centre Panel: Smiters of the Degenerate

“Dismounted and attired in the away strip, the Spirit of Wimbledon ‘gets down and dirty’ with the Beast of Revelations, a false prophet from whose cavernous mouth spews forth lies, falsehoods and cant. Only the Spirit of Wimbledon can finally seal its fate. Some purport to see the crest of MK Dons concealed in the helm above the painting but that would be a coincidence too frightening to contemplate and surely worthy of further research.”

Right Panel: Purgers of the Unclean

"Armed and dangerous with the banner of the True Faith fluttering above his cross-eyed warhorse Elegius and accompanied by his two war dogs, Nipper and Smudge, the Spirit of Wimbledon is ready for battle. Gentle no more but ferocious in his El Cid-like awesomeness, enemies tremble at his name and the ferocity of his visage - and that's where a spot or two of 'Purging ' takes place as bowels loosen at the merest mention of his name. Actually, technically, I found 'ferocious visages' a bit tricky so I decided to paint him in a helmet instead. Not quite as scary, but I think I pulled it off."

Fleydon then addressed me for a final time

'What I have discussed with you with regard to these paintings is all true and yet...and yet...and yet...it is only part of the truth. There is so much more to them than just that, but I'm not going to do all the work for you. Can I suggest though that you think of the links with Great Feast where the clans were drawn in under the protective walls of the Great Hall, decorated with its tales of gods and heroes. or instead think of the great Tourneys held in the King's Tilt Yard - have you never considered the thread that connects the thrill and spectacle of the joust to the colour-filled flutterings of a Woking cup final crowd? Or then the obvious links to Illuminated Manuscripts and the scholarly and monastic traditions they evoke. And what of Monty Python movies and the "Knights that go Ni!", peasants in the mud and 'brave Sir Robin'? All these resonate deeply do they not, throwing up a mass of links and suggestions, thoughts and associations? The depth of this work, the layers of meaning and of interpretation that are possible...well it astounds even me. That is why I am content that, with time, these works will take their place as the brightest stars in my artistic firmament. Meanwhile, until that day, I am more than happy to continue to wear my Scourge of the Unworthy t-shirt underneath my Don's top. After all, a little bit of hair-shirt suffering is good for the soul, however pure it might be.'

Composition in Three Parts : The Mystic Triptych are currently housed in lead lined caskets underneath the Tempest End, They are ceremonially draped over a number of virgins before being hoisted five minute before kick off as part an 'Incense and Chanting ' ceremony.

22. Composition in Black and White (Dude)

2007-10-12T19:23:00.000+01:00

The public's icy reception of 'The Devil is a Don' seemed to affect Fleydon's normally placid demeanour and he reacted by dashing off a series of aggressive sketches that displayed an ire and fury totally absent from his previous work (These were recently collected and published by the Arts Council of Great Britain under the title 'White Hot and Wild - Fleydon and the Art of Rejection') . Fascinating as an insight to the mind of genius as these undoubtedly are, no flag was subsequently forthcoming.

"Just as well really as I would have regretted it. Maybe not straight away but certainly when the writs started landing on the doormat. In fact I was a little concerned about the book publication, even with the expletives deleted. If it shows anything it charts a mind in turmoil so maybe I could claim temporary insanity as a defence!" His lank blond hair shimmered as he threw back his head and howled "Ooooowwww! Mad like a Wolf, that's what art does to you - it takes your soul!!!"

Producing the sketches seemed to provide Fleydon with a cathartic retreat and he was eventually able to divert his energies into more constructive projects.

"I did a lot of channelling, focussing and re-structuring of my energy. Instead of being a mass of negative vibes I became a bundle of positive ones - hyper-positive in fact - and the object of my passion? Not the supporters, players or administrators, all mere humans who I felt had failed me - no, I went straight to the godhead, the fountain, the essence. I sought to glorify the very concept of AFC Wimbledon itself. That divine creative spark from which everything else emerged. I became a man possessed, a modern prophet with an ancient message, a disciple and a proselytizer. For a while I became your worst nightmare, the angry man in a suit determined to show you the route to salvation, whether you wanted it or not. In effect I was shouting at the world and I didn't care whether the world heard me or not."

As a work of art, "Dude!' is characterised by strong black and white graphic style with an overwhelming typographical content. Unlike most of Fleydon's work which by its nature seeks simplicity and clarity in its message, 'Dude!' seems deliberately designed to confound the viewer.

"Yes, well spotted - as you can see I am not exhorting the crowd or even encouraging them. No, au contraire, I am engaged in a hector or a rant. To be honest I didn't care whether whether the crowds could read it or not. I just wanted my say!!"

And what of the title 'Dude', was there any significance in the expression?

"Childish maybe but it was a petulant exclamation - insert 'So ner, ya boo sucks..!' and it would convey essentially the same emotion. But at least I got it all off my chest and I feel all the better for it. It maybe with 'Dude!' I finally said farewell to my youth"

Composition in Black and White (Dude!) was purchased by representatives of the Junior Dons for use as a marching flag on their annual 'Dons Day' Parade. They were especially drawn to its hip-hop sensibility, its irreverent youthful attitude and its comic book graphic styling. As one spotty oik remarked "Dude is cool!"

21. Composition in Red, White and Blue ("The Devil is a Don")

2007-10-11T23:26:00.000+01:00

For the first time in his long and illustrious career, Fleydon was soon forced to face public indifference and even embarrassment at one of his creations. In producing a work so totally out of step with the zeitgeist of the club Fleydon had placed his reputation on the line and found it wanting. What had gone so badly wrong?

"It wasn't my fault...'The Devil is a Don' just had the misfortune to be premièred at a difficult time. It was like a drunk at a funeral. Wrong time, wrong place, wrong kind of spirits - but don't worry, it's time will come, I'm certain of it. Although I wish I hadn't listened to the crowd in the first place. Fickle bastards..."

Fleydon's rueful confession confirms rumours that for the first time in his career he allowed the common populace to inform his art. Keen to appeal to as wide a demographic as possible, Fleydon took to lurking on the internet reading a range of guestbooks and forums.

"I hadn't bothered before but I was introduced to one by a friend and was immediately hooked. There was one in particular inhabited by a range of quixotically-named creatures with fabulous 'tags' who seemed convinced that the Tempest End had to be 'Hell' for opposing teams and not the pleasant gentleman's enclave that greeted all in the spirit of Corinthian friendship and that we had all grown to love. Apparently there were to be flares, bunting and masses of chanting. The whole spectacle would be designed to intimidate and upset. They seemed so genuine that I was swept away by it all. My mind was full of images and ideas - red flares and smoke, an unearthly moaning and low chant from the John Smith Stand, and then what could be more intimidating than to see the Devil himself rise from behind the goal (a veritable mouth of Hades itself!) to the beat of a single drum. The image stayed with me and I worked throughout the close season preparing a work full of threat and intimidation. If Dante could only make nine levels of hell then we at AFC Wimbledon would go one better. We would have the tenth level ALL TO OURSELVES! Ha! What an image! The team would come out to 'Ride of the Valkyrie' and the opposition would crumble with shock and awe..."

Sadly Fleydon was caught wrong-footed by the reality and he found himself unveiling his flag in a silent, mournful and depressed Tempest Stand. The promised passion was absent, there were no flares, no chants and the only individuals in hell were the supporters themselves.

"No-one said a word. They just shook their heads and turned away. I was crushed. Even the few critics who commented on the piece couldn't get the details correct (although to be fair they corrected them pretty sharpish after my solicitors went to visit). It was like a dream where you find yourself on stage naked and where everyone looks at you without saying a word. But their disapproval washes over you anyway."

When I pointed out that Fleydon seemed perfectly happy to appear on stage naked at the first opportunity he agreed but pointed out the difference was that he was generally drunk in real life, but always sober in his dreams "even when I'm actually drunk, which is odd."

"Personally I like this work and am determined to see that it is appreciated in a fitting manner. However I fear that this generation of supporters are not worthy."

Fleydon's extreme emotional swings led him not only to remove 'The Devil is a Don' from public viewing, but to almost attack the supporters with his next shocking work...

The Devil is a Don is no longer on view and has been placed in storage 'until such times as we start winning big again and swagger is back in fashion'.

20. Composition of White on Blue (‘Fun Day’)

2007-10-11T00:47:00.000+01:00

“Atlantis, the Gardens of Heligoland, Peter Pan’s boys, the Great Library at Alexandria and most importantly loads of art from really good artists. What do they have in common? They were all lost, that’s what, and sad to say that’s the situation here. A lost masterpiece that can only be glimpsed in a single, grainy shot. It really is a tragedy of the greatest magnitude, but then it is only to be expected of artists of my standing. The works of genius are always marked by their fragility and this was certainly the case with ‘Fun Day’.”

Fleydon struck an odd, heroic pose before the full-scale photographic reproduction of ‘Fun Day’, only relaxing it when our photographer had signalled that they had the required shot. His relationship to the lost work is evidently a complex one. The work was originally commissioned as part of the reconstruction of the club following the ravages of the ‘Points War’, and had the dual role as both advertisement and artwork in it’s own right. The creative process was a difficult one for Fleydon.

“I was bound, constricted by content and lettering – too much darn lettering for my liking - and I was under constant pressure of unaccustomed deadlines. I sweated blood over that work but finally felt that I had nailed it. It was balanced, harmonious and feng-shui-ed to within an inch of its life. In fact the photograph was taken during a Purification and Harmony ceremony near the pond in my back garden that had been sanctified for the occasion.”

But despite all these elaborate preparations, there was a sense of impending doom in the air. Fleydon ran a set of stubby fingers through the dark curls on the top of his head before continuing with the story.

“I was stressed, but it was done and completed on time. I sent copies of the photographs ahead as a courtesy gesture and was astounded to receive a reply the following day. “Love the flag” it read “ but the 6^th of May is a Sunday, not a Saturday. Could you re-do it please?” My world just collapsed. It was like watching that Chipstead goal all over again as the be-hooped buffoon strutted and preened on the Kingsmeadow stage, but probably a bit worse. Sunday is much shorter than Saturday and the compositional harmony was gone just like that. The magic had gone. I re-painted it and no-one knew or could tell but myself, but that knowledge was like a canker. It was not good for me or my art…”

The flag flew at a single game before being hoisted proudly above the triumphal arch of Kingsmeadow to announce the festivities. At the conclusion of the event it was still there, proudly flying despite wind, hail and storm but during that night the flag disappeared without trace. There had been high winds and speculation mounted as to whether it might have broken free of it’s moorings, and indeed there were several reports of sightings on that moonlit night, but none that could ever be verified.

“Every great artist looses a work. I have lost a great work. I am therefore a great artist. I do not want it back, and never wish to see it again. It was an ultimately flawed and damaged work that I prefer to remember in its prime and which has served me well more in its absence than its presence. Let it rest in peace and let us consider more exciting works. My legal team will answer any suggestions to the contrary or hints or innuendoes as to the method of its removal. I think we understand each other?”

20. Composition of White on Blue (‘Fun Day’) disappeared in mysterious circumstances soon after its only official display. Its current whereabouts are unknown and it is listed on the ‘Stolen Masters’ database.

19. Composition of Blue on Blue (‘Thumbs up’)

2007-10-09T12:29:00.000+01:00

The conclusion of the 'Points War' that saw the minnows of AFC Wimbledon take on and turn the tables on both the Ryman League and the FA was both shocking and unexpected. Whatever the internal machinations and political posturing adopted by the main Axis powers, a bruised but battered Wimbledon CEO was able to stand on the steps of the FA waving that small piece of paper and to declare ‘Peace in Our Time!’. As no small part of the struggle himself (who could forget his naked and consciousness-raising ‘happenings’ at league grounds around the country for example) Fleydon sought artistic closure.

“We had won the war and we now had to win the peace. It was up to the Dons to help reconstruct the shattered remains of the Ryman League in our own image and with our own values. This was the task ahead, but it was also vitally important to allow ourselves time to celebrate, to acknowledge the successful outcome to a great adventure and to recognise those that had fallen.

With the eyes of the world upon us my task, as I saw it, was to walk a tightrope. On one side was the Pit of Triumphalism, a nasty place reserved for the sort of people that gesture to the crowds at Surrey Senior Cup Finals, or teams that see us off after play-off victories or just Hampton & Richmond (no other reason required in their case). To the other side I had the Chasm of Indifference which is empty at the moment but is obviously not somewhere I’d like to fall into. My ‘monument’ had to walk that tightrope and with this very much in mind I created ‘Thumbs Up!’.”

Not since the original version of ‘Tassels’ had a Fleydon flag lacked text - an deliberate omission that nevertheless gave it an uneasy ‘incomplete’ look.

“The symbolic ‘silence’ is an indication of respect, restraint and self-control. No-one likes a show off and to rub the noses of our fallen foes in our triumph would not be the actions of gentlemen. As I hope is all too clear, kicking bewildered and confused blazers whilst they lie slumped and incoherent at your feet, is not the Wimbledon way. We prefer to help them up, adjust their ties, brush them down and shake their hands. It’s partly what makes us so popular and well-respected amongst the rest of the non-league fraternity and we wouldn’t want to loose that respect.

Triumphalist? Well if the common thumbs up of a job-well done passed as silent acknowledgment amongst friends and colleagues is triumphalist .....err...well…yes I suppose it is, but actually I don’t think it is really. I think I got it spot on, as usual. As you can see in the illustration, the crowd seem to appreciate it too and at the end of the day, that’s all that really matters”

Composition of Blue on Blue (‘Thumbs up!’) has been declared a National Monument and a Grade 2 Listed Flag. It is unfurled at the Tempest End on the Saturday Home match closest to the day of victory (Turvey Saturday).

18. Composition in Black and Brown (A Don’s Man)

2007-10-08T21:05:00.000+01:00

‘Bemusement’ best sums up the reaction of the Tempest End on the unveiling of this particular work. It was possible to appreciate the delicate sepia work and to recognise and respond to the evocation of a time, not so long ago, when rattles were commonplace and when the thought of wearing of replica shirts and their associated gaudy advertising was laughable. But still the nagging thought occurred to most viewers – ‘What’s it all about? What are we looking at? Is it really suitable for a modern stadium? Is this really a typical Dons Man?

“A Dons Man? Actually he is the Dons man.” Fleydon recalled. “This flag is the result of an intense course of self-knowledge inner-therapy that I undertook at the Kingston Green Fair last year. The faintly aromatic woman who led me back into the depths of my sub conscious was able to elicit from me the evocation of my own spirit Guide, who I determined was called ‘Uncle Norman’. Under hypnosis I was able to produce this image. Apparently I laughed as I painted and when asked why informed my therapist that I had put joke tobacco in Uncle Norman’s pipe. We were just on our way to watch Wimbledon when he lit his bowl of finest shag. The resulting jet of flame singed his eyebrows but luckily Uncle Norman saw the funny side, ruffled my hair and off we went. The therapist was enchanted by the story and remarked that I was the most balanced and psychologically healthy person she had ever met. Truly I had won first prize in the lottery of life.”

Ever the pragmatist Fleydon declined to leave the result of his psychological musing behind. The title suggested itself and the addition of the crest legitimised it as a valid artwork in his own eyes, although producing an image far removed from his normal canon of work.

“It must be here in this exhibition though” remarked Fleydon “The sub-conscious is a powerful tool for an artist and beside, as the old song goes (and here he burst into a loud and raucous voice) “Uncle Norman is my mate, is my mate, is my mate…Uncle Norman is my mate, he hates Palace!!”

Fleydon gleefully chuckled, shook his head and led me on to the next flag.

Composition in Black and Brown (A Don’s Man) appears by kind permission of the Jungian Society of Great Britain

17 Composition in Mustard and Black (‘Better Class’)

2007-10-08T01:14:00.000+01:00

One of Fleydon’s smaller works ‘Better Class’, nevertheless manages the difficult task of combining dynamism with precision and then rounding it all off with a dash of savoir faire. In his own eyes it is one of the most perfectly executed of all his works.

“Yes, I would say that ‘Better Class’ comes closest in its execution to the creative inner vision. It was conceived as a synthesis of two elements within the club – the executive and the legislative, or if you prefer the players and the management. You can’t have one without the other and this was a truism that was rammed home to me during times of crisis at the club, which to be honest, seem to come round on a regular basis. Some of our elected representatives have backgrounds in the city, hence the unusual garb, but all share an interest in the wondrous orb of passion that is a football, hence the ball (note the ball was later to appear in several other flags including ‘The Devil is a Don’ and is now a regular feature and recognised 'signature' in Fleydon's work).

There was speculation that the briefcase was symbolic of the case bought by the club to the FA with regard to the 13 point deduction and that the umbrella was intended to depict a symbolic poking of the Ryman League. Fleydon refuses to confirm or deny such speculation but does impishly point out that '..the tip of the umbrella is more pointed than strictly necessary.'

The logo has also been subject to some scrutiny. "I know that the word ‘class’ is an emotive one for my dear British friends, even though to those of us of Icelandic descent, it has little import and merely allows us to laugh at your pretensions. ‘Classy act’, ‘classy winger’, ‘classy performance’ all of these are evoked the word along with those terms of more negative connotation such as ‘class-warfare’, ‘class conflict’, and the temptation to pronounce it to sound like ‘arse’.

You will also note that ‘class’ is painted in red. Revolution? Danger? Very hot? Something marked as wrong by a teacher? Blood? All these are the shades of nuance to be found in the colour red and it is not my place to lead the observer, merely to make them aware of the choices…

Is there anything that I’m not happy with? Well as it happens there is something about the picture that annoys me whenever I see it. The fact is that the individual who modelled for the flag wore a pair of brown brogues when he should be in black patent leather. I've nothing against brogues, they certainly have their place in a gentleman's wardrobe,but that place is down at the hunting lodge of a weekend, not in the office where they just embarrass us all and show him up as some sort of jumped up grammar school parvenu. Otherwise I'm very happy with the result and look very fondly on this work!”

Composition in Mustard and Black (‘Better Class’) This work was purchased by AFC Wimbledon and hangs in the boardroom as 'a unique reminder of the unique nature of our unique club'.

16. Composition in Yellow White and Blue ('Ladies Night')

2007-10-05T19:28:00.000+01:00

Fleydon's reputation as a 'ladies man', his famous 'tally-stick' of conquests, his voracious sexual appetite and his fondness of innuendo have all contributed to the legend that is Fleydon. But when standing before 'Ladies Night' a softer, almost tender side of his character emerges.

"This work should never really have happened. It never would have happened if it hadn't have been for a fleeting glance, a half-smile, a sight pout and a faint whiff of Essence de Jade Goody. I was a lost soul, my mind no longer my own, so when this vision sasheyed toward me, fluttered her lashes and asked if I would create a work for the Wombelles, well, instead of chasing her off with a golf-stick or bamboo garden cane I melted. There was no way I could turn her down. Who knew where it might end?"

For Fleydon it truly was a labour of love "of lust really, if you want to be accurate. But then you can't have one without the other can you?" Fleydon is reputed to have locked himself away for the duration of the painting, only emerging with the finished offering. "Yes, it really is an offering, like a Bower Bird I hoped to spread my wares at her feet and impress her with my plumage. Of course the work itself is awash with blatant sexual imagery and innuendo. 'Womb-elles' is obviously a reference to female fertility and it is no coincidence that the lady is perched on top of a 'cock'-tail with a plump 'cherry' beside her. I believe the cocktail itself might well have been a 'Screw-driver'..mmmmm....!!!"

By now Fleydon was salivating and it was disconcerting to note the thick, black, bristle-like hair on the back of his arms erect and gently waving like fronds of seaweed in an ebbing tide. As he hurriedly excused himself for a brief 'comfort break' we were left to ponder the identity of the mysterious dark-haired temptress that so obviously caught, and then broke, Fleydon's heart.

On his return Fleydon, now more his composed self, confessed that the closest he had come to fulfilling his dark intentions was to persuade the dark lady to sign the flag for him. But he put this singular act of pity to devastating effect. News soon spread that Fleydon had been openly flaunting the flag and signature as proof of his sexual prowess and magnetism. Outraged other Wombelles sought to 'camouflage' the Dark Lady's identity identity by signing their names as well. "It was the old 'I'm Spartacus!' ploy but really I don't mind too much as people assume that I've had carnal intimacies with all of them. Which of course I have...Would you like to see my 'Tally Stick'?"

Composition in Yellow White and Black appears with kind permission of the Wombelles Temperance Society and Glee Club.

15. Composition in Green and Brown (DA’s Army)

2007-10-04T12:00:00.000+01:00

The struggle with the Axis powers of the FA, Surrey FA and the Ryman’s League, so memorably ignited by “Clear THAT!” gradually became one of attrition and Fleydon’s art adapted to the new air of austerity about the club.

“It was obvious that we were in for the long haul. Everyone knuckled down and ‘make do and mend ‘ was the order of the day. Our boffins worked tirelessly behind the scenes trying to crack the hard shell of Ryman resistance but of course those of us hunkered down in the terraces had no idea of what was going on – we had our own more immediate issues to resolve.”

Those that survived the Points War remember primarily the sense of a small island of resistance taking on an overwhelming force – a forlorn hope, a cry in the wilderness, a small spot of light on a stormy night. But also that spark of proud defiance and willingness to stand up and be counted. Fleydon responded as only he could.

“DA’s Army is pure Home Front propaganda. I knew what was required and I did it superbly. Ok so I went a bit wrong on the European coastline – the Netherlands don’t bulge like that, it’s true and I did start off by painting the sea green under the word ‘Army’, but that’s how it was – I couldn’t afford to start off anew. Those sheets had been donated by one of our wealthier fans who wished to remain anonymous, but we just couldn’t afford to get rid of them.

As to the symbolism, well you’ll note that the heart of the eagle lies directly above Wimbledon whilst the FA symbols are firmly in Europe, enjoying a freebie junket and a liquid lunch before weaving their way unsteadily back to the Channel Tunnel. The 'Army' of the title represents the swell of opinion represented by Don’s fans who would symbolically ‘like to have a word with you’ when the drunken cohorts of the FA finally cross the Channel.

Fleydon paused here as he contemplated the only individual to be explicitly identified on one of his works. A rare honour and an obvious indication of the level of respect accorded the man.

"DA was our Manager at the time who saw us through the worst of times. Sadly after the war finished the electorate rejected him, which I think hurt him after all he had done in the name of the team during those difficult times. He took his rejection with humility though. He was a truly great man and a gent to boot. Sadly he later went into a steep decline and was eventually was forced to find work in St Albans. At least, thank god, he has the memories.”

Composition in Green and Brown (DA’s Army) featured heavily in the propaganda campaign, being photographed in the South London Press. It was also later incorporated into the Victory Medal design (the famous ‘Pyrrhic Cross’) awarded to all combatants. After the war the original was signed by many of the survivors and presented to DA following his defeat at the polls. It is currently preserved in an official black plastic bin-liner and stored in the great man’s loft.

14. Composition in Blue, Yellow and Blood Red (Clear THAT)

2007-10-02T22:59:00.001+01:00

We now reach a period of the exhibition that saw Fleydon sucked into a maelstrom of political activism both literally and figuratively storming the barricades on behalf of his beloved club.

“Everyone can remember where they were when news of the thirteen point deduction came through. Shops and offices emptied onto the street and much of the capital ground to a halt in disbelief. It was up to activists to take a lead in galvanising public feeling and I was proud to do my bit. ‘Clear THAT!’ was created in a single evening not by an artist of genius, but by a FAN, a fan possessed of passion, and anger, and...well, a burning sense of injustice really. The FA had done for us once and they were trying to do for us again. Well over my dead body!! Fleydon is not a door-mat for emasculated bureaucrats!! Fleydon is Passion! Fleydon is Art! Fleydon is Instinct! ....In truth, it was my finest hour...”

Unveiled that same night to roars of public applause, ‘Clear THAT!’ caught the mood of the crowd and sparked the flame of resistance. Never one to shrink from the limelight Fleydon basked in his renewed notoriety. Compared by some for its emotional intensity to ‘Guernica’ by Picasso, Fleydon believes ‘Clear THAT!’ goes far beyond its predecessor. For a start, as he points out, it was in colour...

“I was gently criticised for depicting petty officials spraying blood. In fact the red is actually my own blood and it was supposed to depict the whiff of revolution in the air, not a bloody nose. I had run out of match-pots of blue and black paint, which is why the figure is not finished at the back, so I had to improvise. The book clutched to the stalwart hero's chest is ‘The Spirit of Wimbledon’ that I had just received as a present. I had some yellow paint so put the book in to take up some space on the blue shirt. It works quite well, even if you can’t read it very clearly. Power and learning harnessed to a single cause! Unstoppable, like the club!! I think it is undeniably a great work but I do wish people would stop referring to it as Take That!, which I believe is a modern acapella troupe. I find that demeaning…”

“Clear THAT!” is on display today thanks to the FA. It currently hangs in their Museum of Football Memorabilia at Soho Square

13. Composition in Black and Red (The Tempest Pigeon)

2007-10-01T21:26:00.000+01:00

For some months after its unveiling Tempest Pigeon was interpreted by many as a minimalist exercise in the exploration of hubris. Others made the connection with the song Skyline Pigeon by Elton John, a poignant evocation of a yearning yet trapped soul, reflected in the picture of the ‘pigeon’ reaching for the sky with but a single wing (the other being symbolically ‘clipped’ by the artist). What could the ‘Parade’ refer to? Most assumed that it was an oblique reference to the ‘parade of life’, and our journey through it. Tempest was obviously a storm reference as well as being the name of the main stand. So most critics were in broad agreement that what we were presented with was a profound message in the form of a warning - an unfulfilled life, trapped, frustrated and symbolically ‘clipped’ can only lead to a ‘storm’ of repressed emotion which can in turn ruin the smooth passage through life. Sombre, yet touching.

“It’s a nice interpretation, I like it a lot. Very poetic... but to be honest, not quite what inspired me. What actually happened was that one of the Main Stand pigeons flew overhead before the Horsham game. I was making my way back to my ‘special place’ with a cup of tea and a tray of chips when the cursed beast dumped its load on me, much to the amusement of those around. ‘Mayo on the chips!’ was one of the cry’s that went up, I recall. After cleaning myself up as best as I could, I quickly painted the flag from scraps of material in the back of the car as a warning to my friends still queuing and I put it up at half time to dry.

We won with a last minute goal and an icon was born!”

Fleydon smiled quietly “But let’s keep that quiet shall we? I think I prefer the ‘official’ version…”

Composition in Black and Red (The Tempest Pigeon) is owned by AFC Wimbledon and is flown at times of increased pigeon activity

12. Composition on Blue (‘Feel the Force’)

2007-09-27T17:55:00.000+01:00

Stylistically ‘Feel the Force!’ harks back to classics such as ‘Look into My Eyes!’ and ‘Nice Clean Sheets’ with its use of bold colour, bordered and contrasted with strong blocks of black. It is a style that Fleydon finds both comfortable and emphatic

“For this work I wanted to get back to basics somewhat, to remove the imagery and, dare I say it, the intellectualism of more recent works. As an artist I am also somewhat of an angler – I have to hook my audience and play them like a fish. If they are biting I have to keep them hungry – I mustn’t overfeed them or they’ll loose interest. ‘Feel the Force was a direct appeal to those viewers that come along to the Cherry Red Records Fan’s Stadium Kingsmeadow not only to view my work, but to look at some of the football as well. I wanted to KISS them!”

Fleydon threw back his mane of dark, tightly curled hair and laughed at my surprise

“Not physically of course, although I would certainly make an exception in one or two cases. No sometimes I need to Keep It Simple for Supporters. It’s chicken broth art…”

Chicken broth it may be but Fleydon did risk alienating his audience with his outburst at the unveiling.

“In hindsight it was my fault but the canvas was the wrongs size. The players are mythic Titans striking the earth, literally causing the sparks to fly– they embody the unstoppable spirit of the club, an untamed primal force, lightening at the dawn of time. The tremors roll through the Tempest End and equate to the physical shaking as the crowd celebrate a goal. The trouble is that when hanging 'in situ' supporters obscure the key reference, the lightening flash. Instead it looked like two drunks leaning against each other, squashing little people. It upset me and I over-reacted. Pushing the crowd aside was not an appropriate response and I apologise for my actions.”

Those sadly injured in the ensuing panic and rush have since resolved their actions out of court and a level of equilibrium has once more restored to the terraces.

‘Feel The Force’ is still owned by the artist. It enjoys occasional hangings in the Tempest End(mainly during mid-week cup games) in the hope that one day it will be seen in it’s full glory.

12. Composition in Fur (Wombling Free)

2007-09-26T21:02:00.000+01:00

Last season Haydon the Womble held an open competition to design a suitable flag to represent him to the wider public. The competition criteria was to 'rouse the crowd, to provide an ecological message and to be robust enough to always fly when the Womble was in residence'. As a result of a bet, Fleydon entered a canvas in the names of two promising youth players, confident that even without the prestige of his name that the quality of his work would win through.

“I had to change my style completely, of course” remarked Fleydon “the quality of the fur and the texture of the cloths were, simply, outstanding. So much so that my two assistants found the flag more enjoyable to touch than the Womble! Of course I won – I never doubted for a moment that I would – but it gave me great enjoyment watching all the presentations, speeches and ceremonies, knowing that Fleydon was the real winner. The girls did well though and they had their five minutes of glory, even if it was windier than they found comfortable!”

Despite Fleydon’s eventual theatrical and highly embarrassing revelation of his true authorship, Heydon the Womble elected to retain the flag for official duties, mainly because as it later transpired Wombling Free had been the only competition entry.

Composition in Fur ('Wombling Free') appears with permission of Haydon the Womble and can be seen in the Tempest End at home matches.

11. Composition in Grey and Green (Behold the Don)

2007-09-25T17:57:00.000+01:00

Behold the Don is one of Fleydon’s least regarded works despite being in his own words ‘a spiritual and divine attempt to capture the essence of the men behind the shirt. It is Football as a question, or rather a plea…’ However it is a plea that seems to have fallen on stony ground as it is regularly voted one of Zoo Magazine’s top five ‘Flag’s Fit For Burning’.

Fleydon seems to accept this as the price for ‘baring my soul a little further than was really necessary’ although he cannot help pointing out that he felt at least some of the opprobrium directed was because some were still convinced that the hair of the figure was modeled on that of Peter Winkleman rather than the actual model Luke Garrard. “If it was supposed to be Winkie I’d of done the hair in thick oils!” he chuckled in his distinctive West Country burr “but it was watching Garrard and his refusal to let opposing forwards pass that was the real inspiration.

‘Ecce Homo – Behold the Man’ were the words of Pilate as he threw Christ to the mob, and that’s what I feel like shouting as Garrard takes his place in the team. Behold the Don! He doesn’t normally have all those extra limbs of course – he is no Shiva the Destroyer – but they are symbolic of his determination that ‘none shall pass!’. However, I must concede that he does sometimes have an aura of grubbiness about him (hence his nickname ‘Stig of the Dump’) so I thought I’d put in a bit of grey around the figure, like an aura of soot enveloping a mighty steam locomotive!”

However many are left cold by the religious overtones within the work. Mr Garrard’s feelings on the matter are too well-known to bear further repetition and I was happy to leave this curio of a flag and to move on to other, more rewarding works…

Composition in Grey and Green (“Behold the Don”) remains unsold and is currently being used as a duvet cover by the artist

10. Composition in Yellow, Blue, Red and Green (“Attack on All Fronts”)

2007-09-24T22:37:00.000+01:00

“The most potent memory I have of this particular works (one of my favourites by the way) is of the extraordinary lengths I had to go to in posing the models. I had jerry-rigged a ladder to the wall of my garage that leaned at the correct angle necessary for that feeling of dynamism that suffuses the whole canvas. The top two models held on to poles to balance and prevent themselves slipping off the rungs. That is why their hands are so tightly gripped - I had to paint the poles out. The poor boy at the bottom though had no such support and complained incessantly of back problems throughout the day.”

On its unveiling there was a degree of unease with the evident age and lack of fitness of the central character but Fleydon dismissed these issues with characteristic impatience “They are fools. They confuse symbolism with naturalism. Why the goalkeeper only had one leg so obviously he’s not meant to be taken literally as a goalkeeper, although that might explain why he complained about leaning so much. What I celebrate is a team of three facets –youth, man and behemoth. The behemoth is a centre-back with much experience in his last year as a player who is soon to be ‘away’ from the rest (and hence the choice of strip). Every side has one…every side needs one!”

Public opinion soon swung away from the critics and the composition soon found favour as a poignant allegory for the short life of a footballer

Composition in Yellow, Blue, Red & Green (“Attack on All Fronts”) is currently on loan to the Rt. Hon. D. Beckham and hangs at New Posh Towers, Los Angeles

9. Composition in Blue and Green (“Raiders of the Rymans”)

2007-09-23T00:59:00.000+01:00

“What” I asked Fleydon “are we to make of ‘Raiders of the Rymans’? To me it looks like a populist attempt to cash in on a summer blockbuster film. It is not a work that has added to your critical renown, but you insisted that it be included in the exhibition. Why was that?”

Fleydon turned and faced me full on, fixed me with a firm stare and placed an arm on my shoulder. ”This work” he said quietly “caused me more angst, sweat and anxiety than any other. It is a work brimming with religious significance. If you look closely you can see the revisions, the changes the sheer frustration etched on the canvas. This is no pot-boiler, money-making attempt to fleece innocents but a cri-de-coeur.

I love this picture as only a parent can love a sick child. It struggles, and the cruel world laughs but they laugh at an allegory for the very club itself – Wimbledon rising, born again, a glorious resurrection!. Look, in religious painting the skull represents the transitory nature of life – in here it reflects the transitory passing of a club itself – the death knell of Wimbledon FC. The crossed bones often refer to the cross at Golgotha, ‘the place of the skull’, a place of death, but ultimately of hope and resurrection – the feathers are attributed to St Barbera’s home town of Heliopolis, the birthplace of the fabulous Phoenix – the golden yellow of the cloth represents the sun whose re-birth brings such joy to the world.

The grin of the skull? That obviously shows a triumph over death, a laugh in its face as it were. The scroll at the bottom is often used to represent old testament prophet’s who record wondrous prophesy - and what better prophesy than that of our beloved team writ large? And finally the hat – not a tricorn as many assume, but a black biretta, symbol of the priest who has the power to comfort and provide a path to salvation. And what emblem is depicted on that biretta? The two-headed eagle of Caesar who ‘came, saw and conquered’ – perfect!”

He stood back from the flag, tears in his eyes and emotion gripping his body. “My god what a flag - it has it all, the whole wondrous story on one sheet. THAT is the depth of emotion, of feeling and passion embodied in this picture, not some rip-off of a movie. That attitude makes me spit! Football is my religion, AFC Wimbledon is my denomination and the Cherry Red Records Fans’ Stadium Kingsmeadow is my church. And we will rise again, mark my words!”

As Fleydon’s face contorted with anger we paused for a while to allow the passion to subside. “And the legend ‘Raiders of the Rymans’ I asked, "does that have any religious significance?” “No, none…” he admitted “but my agent felt it would make it more attractive as a potential t-shirt design – at least until we are promoted.” He gave out a deep, bellow of a laugh “Of course I might be long gone by then! Clubs might be resurrected, but I doubt I will!”

Composition in Blue and Green (“Raiders of the Rymans”) is appearing courtesy of the Disney Corporation.

8. Composition in Grey (“Raising Standards”)

2007-09-20T22:11:00.001+01:00

“But please, let us forget Ms Tracy Eminem and her shallow female sexuality for one moment” said Fleydon, passing swiftly along the line, “and let us concentrate on a real phallic symbol. War and Football – so often linked whether playing across the trenches, Christmas day truces or ‘Escape to Victory’ -the vigour of young men competing at their peak. ‘Erecting the flag’, yes… sex, combat and AFC Wimbledon this picture has it all. Look at the angle of the pole and the cluster of rounded shapes at the bottom – if you squint I think you will see the phallic embodiment of a rampant club. I shiver whenever I pass it. It’s symbolism is so powerful, so intense. The original photograph might have been quite well-known, but my re-staging has I feel, a more honest, earthy touch.”

I asked Fleydon if there was anything about the work that he would change. “Well, one technical thing that struck me at the time was how tricky it is painting a fluttering flag on a fluttering flag! Creases, like faces, are a bit tricky…”

In an extraordinary statement, Fleydon then claimed to have proof that the original photograph, ostensibly of the capture of Iwo Jima, was actually staged in the desert of Nevada. “It’s a conspiracy you know – and a cover up” He leant toward me and winked. “But I know the truth – Art opens both doors and tongues you know…!”

(Composition in Grey appears with kind permission of the Commanding Officer, Area 51, Nellis Air Force Base, Nevada)

7. Composition in Green (Clean Sheets)

2007-09-19T20:35:00.000+01:00

Those with a taste for gossip and scandal will recall that ‘Composition in Green’ was the centre-piece of fierce, vindictive and very public spat. Tracy Eminem, linked by Hello! magazine to Fleydon and widely assumed to be his lover, declared her intention to ‘see that stunted sod in the courts’. Fleydon, however had no qualms about clearing the air – “Of course it was about her – anyone could see that. I just upset the young lady with my refusal to be used as a stepping stone in her career. As a far superior artist it was only natural that I presented as an essential notch on her bed-post. Or in this case stain on her bed!”.

Fleydon claims that having been stalked by Eminem and lured into her bedroom, she then made it clear that his “essential seed, my creative juices, my élan vital!” were to be used in her new artwork “My Bed and other Stubborn Stains”. Fleydon says he objected and left the room with his honour (and fluids) intact. But he couldn’t let it lie there, literally or figuratively. "I am afraid that I am not used to being used by women. My sense of honour was pricked, no doubt partly as a result of the latin blood through my mother's side. Whatever it was, I had to respond."

"Composition in Green signifies life, growth and resurgence whereas Eminem’s My Bed is, literally, a pit of chthonic mire. The Keeper (of virtue?) represents the last line of defence but also the first line of attack and I am sure the astute critic will note the phallic and impish boot tightly bound with laces. Power, restraint, life and vigour - and I am sure the motto speaks for itself. Ms Eminem please take note!”

Later that day Fleydon admitted that Tracy Eminem had taunted him about his ‘Little’ goalkeeper and laughingly referred to the work as ‘Dodgy Keeper’, However he insisted that the two artists had since resolved their differences and would be presenting the Turner prizes together later this year.

(Composition in Green has recently been purchased at auction by Proctor & Gamble and will soon feature as the new ‘face’ of Daz washing powder.)

6. Composition in Yellow and Blue (Dons March to Glory)

2007-09-18T22:55:00.000+01:00

This monumental work, in concept if not execution, utilised more swatch-pots than any other of the artist’s works, in some place being applied to the depth of four millimetres. The vision of AFC Wimbledon as a well-drilled, organized and highly focussed unit proved a sensation when first unveiled, gloriously catching the zeitgeist of it’s age. Later, with the deflation of hopes and the shredding of innocence following the highly contentious ’18 point incident’ it was re-evaluated and critics raised shrill voice against it. Fleydon too seems to share at least some of the reservations

I reminded Fleydon of one well-known critics assertion that the characters depicted reminded him of ‘A gaggle of zombies on their way to a gay pride march’. Fleydon blushed perceptibly and muttered something about ‘Action Men’, his Uncle Albert and the fact that the flag might “.. reflect a brief period of experimentation and discovery in my private life. Besides, painting heads can be very tricky sometimes and it could be that now and then things don’t come out as you might have hoped. But it’s a backlash, these things pass…”

Fleydon then took me firmly by the elbow and lead me swiftly on to the next canvas

Composition in Yellow & Blue (Dons march to Glory) appearing by kind permission of the Stonewall Memorial Fund

5. Composition in Pink and Black (‘Eyes’)

2007-09-17T18:41:00.000+01:00

Justly famous for being one of the few of Fleydon’s works to be clearly visible from the Main Stand, ‘Eyes’ has achieved iconic status and was used on the cover of a recent unofficial biography ‘Surrender to the Power of the Fleydon!’. The fact that he is widely assumed to have copied the eyes themselves from a Roy Lichtenstein work and lifted the text from a popular television show does not seem to bother him. “I knew Roy, we were good buddies, we shared drinks, ideas and women. It should be obvious to anyone that Roy's painting is actually based on a sketch I did of Roy himself when he found I'd finished his last bottle of Scotch. But let's not get caught up in the details - Roy’s dead and let’s face it no one will remember the catch-phrase in a couple of years time. But this will live forever! Think of it as a re-interpreting of source material just like Shakespeare. The sum is greater than the parts...”

Critics have also noticed that the work is lined, unlike most of Fleydon’s work. Being substantial in both size and feel this attention to detail seems indicative of a man keen to control his own memory. For all the doubts around it ‘Eyes’ obviously has a special place in Fleydon’s affections.

(‘Eyes’ is in the artist’s private collection)

4. Composition in Yellow and White (‘Form Follows Function’ or ‘3Fs’)

2007-09-17T00:24:00.001+01:00

Following several months rehab as a result of his Calpol/Bovril induced psychosis, Fleydon eventually emerged from his deep psychic trauma refreshed and revitalised.

"It was like a re-birth for me. I felt cleansed and purged. I felt as though I’d had an epiphany, a symbolic re-birth. As a (metaphorical) ‘clean slate’ I dressed in white lined and ate only fruit, seeds and water. At first my art suffered as I sought to re-ignite that emotional intensity, but I soon found myself in a place of order, serenity and cool. Calm logic percolated my psyche, although I must admit the diet was playing havoc with my bowels. The result was a statement –‘Form Follows Function’. Or, and not many have picked up on this, was it not actually a statement but in reality a question...?

I took up yoga as part of my new regime and was amazed at what the body could do could do – look, even after all these years I can gauge to an inch what stresses and strains my limbs can take."

At this point Fleydon dropped to the floor and into what seemed to be an ancient yogic knot. His gaunt frame and spindly limbs awkwardly reconfigured themselves. When he was eventually able to right himself he commenced a low, murmured chant. We listened in silence

A good thirty minutes later, still in his extraordinary position, he broke the silence with a sigh ‘You know, at that point in time I felt the body was a machine and a team, such as AFC Wimbledon, merely a collection of small machines combining to make a bigger machine. If the machine/team was made out of the correct parts then the team would function. If the team functioned then we would be guaranteed a good run of form – it follows then that ‘Form Follows Function’. I was completely unaware that someone else had used the phrase before. It confused my message, made things awkward.’ He paused and thought a while before continuing. ‘People thought I was talking about building houses or something. They said they didn’t understand exactly what I meant. Now, with the benefit of hindsight I’m not so sure that I do too. Does it really matter though?

Stylistically though, I like the blue/black letters and there were lots of straight lines, which I like painting. So on the whole, despite really being a reaction to ‘Screaming Eagle’, I think 3F’s has a lot going for it. - and could you help me up now please?"

‘Form Follows Function’ has most recently appeared in a Don’s Trust election manifesto. Fleydon declined to comment on the politicization of his work.

(Form Follows Function is part of the artist’s private collection)

3. Composition in Black and Red (‘Screaming Eagle’)

2007-09-14T22:37:00.000+01:00

'Screaming Eagle' was nothing short of sensational when unleashed onto an unsuspecting public. It threw down the gauntlet to notions of the ‘neat’ so prevalent in contemporary football flags, called into doubt the sanity of the artist and questioned the very suitability of flags as a public and uncensored art form. Compared by many in it’s emotional intensity to Munch’s The Scream it is (as Fleydon points out) obviously twice as powerful because it features two heads, which is twice as many as Munch painted.

Fleydon visibly quails before this powerful work, his powerful frame sags and his perfect teeth seem to loose their lustre.

‘A bad, bad time for me. This is Art as Psychotherapy, a graphic representation of the power of the nightmare and the fear of sleep. I painted it freehand, from the sub-conscious in one sitting. I used an old IKEA Roman (eagle?) Blind, symbolic of the shutter against the night that no longer works. The beast is already here, within us, fighting to emerge from the primal id. Of course the drugs didn’t help. I was taking Calpol at the time for a persistent headache and I inadvertently mixed it with Bovril. Then all hell was set loose.’

Some critics picked up on the disturbing undercurrents, even as they stood in awe of the sheer power of the image

‘it looks as though its on caffeine and Benzedrine…’ was one of the more astute comments. Critics then argued about the underlining of the. What did it signify? The Sun ran a competition and came up with several startling suggestions. Fleydon himself remains silent on the matter. Whatever trauma unleashed the beast, it seems, for the present at least, to be safely contained.

(‘Screaming Eagle’ is part of the Tate Modern Collection)

2. Composition in Pale Yellow and Blue (‘Morden’)

2007-09-13T20:23:00.000+01:00

‘Morden’ was produced as a direct result of the unexpected success of ‘Tassels’, but the artist himself seems to find it hard to summarise its appeal. Shuffling uneasily on his crutch he places the weight of his body onto his shattered left leg and regards the flag from a near horizontal plane. He strokes the grey stubble that covers his head thoughtfully

‘Ah yes.. my ‘difficult’ second flag…very much a transitional piece, although it does introduce some new elements, notably the lettering that becomes integral to my later work.’

Pressed as to it’s obvious symbolic resonance - as witnessed by phenomenal poster sales to young students, Fleydon seems bemused. "Of course it’s rooted in a sense of place and Morden symbolises a certain craving and a yearning for excess. ‘Morden/More-than’ is an obvious play on words, hence the two crests. But really, despite its popularity it is one of my least revolutionary works." He looks embarrassed for a while before his pale face lights up with pride. "It brings in the money though and being featured as a running gag in ‘Only Fools And Horses’ really helped my profile – so maybe I should be more grateful than I am!"

Disconcertingly he winked his jet-black glass-eye at me in conspiratorial way and leered again at my photographer before moving along to one of the most influential of modern artworks.

(‘Morden’ is on loan from Athena Productions Ltd.)

1. Composition in Yellow and Blue (‘Tassels’)

2007-09-12T23:45:00.000+01:00

‘This was the work that really put me on the map. At the time I was very much immersed in both the 19^th Century Arts and Crafts movement and Blue Peter and this composition is a near perfect synthesis of the two.’

He leans forward for a closer look and his swarthy brow creases in concentration. ‘Look here, you see the yellow and blue are two separate entities literally joined together by a single thread and bonded together by the crest. And here to the left there’s a slight tear where that single thread has been rent asunder by an open top bus moving at speed – As I was saying earlier this is real art in motion! I couldn’t bear to repair it – it has become a statement in itself.’

This is obviously one of the more iconic of his works, signed by players at two cup finals.

‘Yes indeed, art as talisman and sacred object. We won the first final and it became the ‘lucky’ flag. We lost the second final and it became the ‘not quite so lucky flag’. However, being lucky half the time is still pretty good.’

An aside, an almost off the cuff remark, led to some more revelations – ‘It’s hand dyed you know. The yellow and blue symbolise the club’s ‘dyed in the wool support’, except that it’s made of cotton obviously…The tassels too are reminiscent of pairs of large testicles carelessly thrown onto a fence. Yellow and Blue testicles... the dog’s danglies as it were! It’s nice to see it again. It’s a happy work.’

(‘Tassels’ is on loan from the TransCorpUniBondDirect Corporation of Indonesia)

0. 'Why Flags?' - Fleydon Unfurled

2007-09-12T23:16:00.000+01:00

Although now spending much of his life commuting between homes in China and Patagonia, Fleydon has never ceased drawing inspiration from his very public relationship with local football club AFC Wimbledon. Indeed it is at the club’s Kingsmeadow home where new works are premiered to a critical and knowledgeable public. ‘Tempest by name, tempestuous in nature!’ was how he once memorably described his relationship with the Tempest End, the most vocal of art spaces.

Art & Artists Review caught up with Fleydon to find out more about the man and his art.

Meeting in the foyer of the Hayward Gallery as the finishing touches are applied to the hanging of his latest work, we finally cornered this enigmatic figure for whom the word ‘spry’ might have been coined. We started with his signature art-form, the flag or as he prefers, the ‘banner-ama’.

What was it that attracted him so this unusual medium?

"Unusual? Well you might think so but let us consider the nature of the flag. What is it after all but a limp canvas? A proto-painting, a potential artwork capable of moving at one with nature through three dimensions rather than the two-dimensions associated with more traditional, or as I call it rigid, painting”

So the wind and other movements playing across the surface add an extra layer of depth to the work?

‘Just so but ..’ and here there was the merest twinkle in his ice-blue eyes ‘..let us not forget that it’s a also cheaper and easier to move around – important considerations for an artist on the move. But consider too that the flag resonates with symbolism. As a child I was enraptured by the story of the French knight who, late for the Battle of Agincourt, donned an old flag as a surcoat and rode off to battle. I like to think I am that knight! Of course…’ and here he threw back his heavily bearded face and let out a huge laugh ‘...they killed him soon after – but they kept the flag! I find that most significant…’

And why hang at a football match rather than in one of the more established galleries where those appreciative of his works might enjoy them in comfort?

‘Comfort? I’m afraid you have not yet grasped the essence of my work. The essential ‘art’ is not the flag itself...’ and here he gave a dismissive wave of a gnarled and heavily tattooed hand ‘…that is but a stimuli, little more than a rag to the furious bull of the public. No, the art lies in the dynamic tension between viewer, object and place. The frisson, if you will, of the unveiling. There lies the art and, though I am loath to say it, an exhibition such as this is little more than an echo or a memory of the real art – shared, enjoyed, interpreted and forgotten all in the space of a few minutes. That is my art...’

He paused for a second and stared down at the floor, his long black fringe flopping forward over his eyes as though lost in sudden thought. Looking up slowly he smiled and suddenly clutched his groin, shaking it vigorously in the direction of my photographer. ‘That and this of course!’ he leered unpleasantly. It was apparent that the civilised and the bestial were uneasy bedfellows in his unruly yet dynamic creative psyche – a point not lost on the man himself in his biography ‘God Help the Beast in Me (Later)’

After a prolonged period of nasal clearing (‘I love mucus – it’s so cthonic!’) Fleydon reflected on the nature and inspiration behind some of his best known, but often misunderstood, works…