Composition in Three Parts ('The Mystic Triptych')

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)

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")

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’)

“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’)

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)

‘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’)

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'.