All artwork, text and images © James Straffon 2021.
Mitologia Italiana - nel testo
No.19. King Crin
In the following years, la punzonatura would annually occur outside La Gazzetta, on Via Galileo Galilei. Numbers were given to race entrants. And a race was run. During this time, the artistically-inclined Bugatti family would entrust one of their clan to bring to life an iconic motorcar company; some time in fusion with Prinetti & Stucchi, Stucchi & Co., who produced machines for sewing. At the same time, in nearby Turin, a Lancia Beta would roll off onto the roadway. Paradoxically, within this automobile revolution, something of a bicycle renaissance also began to emerge, aided by the outlook of the Touring Club Italiano. Deep in the kingdom of Lombardia there was a grand celebration.
No.39. The Happy Man’s Shirt
The wizard king’s wise words would all play out in truth. And Angelo would ultimately lose his final battle. At the same time, far off in another kingdom, neorealism competed with fantasy. A young woman from Sweden called Ingrid told an older man called Roberto “I am ready to come and make a film with you”. Their scandalous fate is soon sealed on an exploding volcanic rock called Stromboli. And another man of pictures exposes a naive young boy carved from wood, who tries to escape a life under the control of others. Along the way he joins a circus, becomes transformed into a donkey and ultimately is reborn through a miraculous metamorphosis. Where those seeking the allure of the maglia rosa fight to the bitter end, it is rumoured the truly happy man wore no shirt.
No.53. The Devil’s Breeches
At the same time, the beast with horns had his fingers in many pies. In Rome, a group of future-gazing visionaries opened the Cabaret del Diavolo - borrowing from the Florentine Dante Alighieri, the three main rooms went by the names Paradise, Purgatory and Inferno. Other kindred spirits included Fortunato Depero, who founded the Casa d'Arte Futurista. Further devotees joined the movement formed around a ground swell called Futurista. Back in the kingdom of Lombardia Alfonsina had traded her simple bicycle for one with its own power. This new beast, called Guzzi, was coloured scarlet. And he growled the most throaty thunder. One day, returning home from a town in the north, Guzzi became uncontrollable. His grease-splashed bulk fell against Alfonsina. Unable to move she pleaded for air. But the beast took no heed, the Devil had taken the place of him.
No.74. The Daughter of the Sun
No.76. The Florentine
No.95. Water in the Basket
Legend has it the king from the north and the king from the south went head to head for many days and nights. Both were battle-hardened warriors. Both displayed ingenuity, endurance and cunning. Rumour has it the king from the north once declared “Age and treachery will overcome youth and skill.” Furthermore, the king from the south did not trust the methods of his rival. He believed a sly medicine man had bequeathed his foe with some explosive potion, which when imbibed increased the consumer’s powers tenfold. The battle raged on. And on. Eventually, the two passionate kings were almost at a standstill. This is the point where the mists of time grow murky. Some say the king from the south grew pity for his exhausted adversary. Others suggest the king from the north was actually winning, but decided to spare his opposer and offer an olive branch. The only aperture of shared clarity into this tale is a moment witnessed by a man who had no name. And who since has disappeared into thin air. But it is said, he saw through one eye the two kings clutching the same drinking vessel, each in desperate need of libation. But was the king from the south offering his spirit to the man in front? Or was the king from the north reaching back to bequeath a life saving mouthful from his? To this day the myth known as the bottiglia d'acqua remains unresolved. What is understood is their shared moment of kind-hearted altruism saved the land. The outcome was a close one. The kings returned to their queens, and a gifted inventor from the creative hot-bed known as Milano, through his love of a flame-haired temptress called Gilda, built a device which allowed all in the kingdom to express themselves through the drinking of a stimulating dark beverage. Elsewhere, Gilda’s legacy was also strapped to a catalyst of greater potency. But as the storm clouds settled, all lived happily ever after.
No.126. The Five Scapegraces
During his time without trumpeting, Alfredo had wed and produced a family. Encouraged by the need to provide for his offspring he picked up his instrument and returned to the competition, racing this time with a new sound in his ear - the cries of that mad daughter of his.
No.137. The Thirteen Bandits
No. 145. The Widow and the Brigand
The demise of the king, some say, was a metaphor for change. His actions represented the desire for a more modern morality. When white turned to black, his partiality to the allure of women and power was played out across the front pages of popular culture. But then, from the ruins and poverty a new horizon grew. A man called Gio would build a glorious blue and white palace high up on a cliff overlooking an island in the same Tyrrhenian Sea. And a man of cheap words would openly pursue a saccharine pastime in order to to seek his fortune.
No.160. The Left-Hand Squire
Years later, as he took his battle to the highest mountain in the land, which went by the name of Pordoi, whispers spread that extra gregari had been brought in from far and wide, and these allegiant scamps had assisted, against the race rules, to push and drag the exhausted competitor to the mountain peak. Despite proclaiming “In life, defeats are more likely to happen than wins”, the Third Man’s victories seemed more likely to happen if he deceived. One one similar occasion, he even managed to cheat Death himself - for despite breaking many bones he continued competing in a long and arduous race against the champions of the time. All the healers from the land were sent away, as the challenger rode on, falling again and again; breaking more limbs with each advancement. Unable to properly control his chariot with his hands, he cleverly fashioned a harness that he gripped between his teeth. It was this act of insane, spirited gallantry which eventually melted the animosity of his doubters. The Third Man finished second in the race. Afterwards, slumped in an infirmary bed, he looked down at his broken body and apologised to his wrecked limbs, saying “scusa for the grief I have caused you”.
No.179. The Captain and the General
With eating now a favourite pastime of most people, sharp-eyed members of a family called Salvarani went into business selling boxes, which when connected together could convert any room into a place in which to cook and prepare meals. This brave new apparatus had everyone talking about things which were ‘modular’. The Salvarani family became prosperous beyond their dreams. And everyone in the land turned modular. With more money than they knew what to do with, some was spent bringing music to the populace. In a giant round bowl called Vignorelli they introduced four insects from a far away island, who played their instruments and sang about girls. They also hired a small battalion of skilled riders to capture prizes, riding all the while in a fetching pale blue livery. This legion had both a Captain and a General (neither of which were from Sicilies), and both were very popular victors, much due to their merry disposition. As the people enjoyed the success of this blue battalion, they also were sad at the loss of a brilliant innovator called Enrico, who had lived in a big house called Varramista. Enrico had changed the landscape across the land by designing a small and affordable vehicle with a bulbous rear end and spiky handles for steering. “It looks like a wasp!” declared Enrico. It wasn’t long before everyone was riding on wasps, from Sicily (now in the south) to the north. In recognition of his great idea he was made Commander of all the regiments.
No.194. The Lion’s Grass
Returning to rapturous fanfare, the lion opened a special wooden crate made by the carpenter and out spilled the victor’s spoils. Suddenly the fanfare stopped. The crowd drew back. All was quiet. “Is there a problem?” enquired the lion. The town’s Mayor stepped forward. “Toothpaste? Hand cream? We were expecting sustenance, and rare victuals on which to feast and make merry.” The gentle lion leaned against the wooden box and lit up a cigarette. He had heard the story of the Left-Hand Squire, where this face and hand cream was an alternate currency for people of high culture. Not so those of a rural upbringing, he surmised. “Never mind,” said the carpenter. “Perhaps white teeth and rosy cheeks aren’t for everyone.”
The carpenter returned to making things with wood, and the lion took up residency in the artisan’s workshop attic, painting landscapes of his homeland. “I wouldn’t worry about those folks in the hinterland Mr Lion. You are still king of the beasts to me.” Putting down a brush, and lighting up a cigarette, the lion smiled. In his mind he remained king of the seven crowns.
[Titles, First and Last sentences after 'Italian Folktales' by Italo Calvino]
[Titles, First and Last sentences after 'Italian Folktales' by Italo Calvino]
All artwork, text and images © James Straffon 2021.
Mitologia Italiana - le stampe
An exploration of the Italian cultural landscape, from 1909 to 1960; a work of fiction;
as a reworked appropriation of Italo Calvino’s Italian Folktales.
Through the paper-thin, rose-tinted covers of La Gazzetta dello Sport words tell tales of mythological encounters; and a race across the ages. Through revolution and evolution this background vista makes headlines. And as the race goes on, so La Corsa Rosa continues to reflect the shape-shifting society through which it passes.
Discover the Myths HERE
Archival pigment print.
Size 1 - Print size: 60 x 42cm.
Signed and numbered. Limited Edition of 15 Worldwide.
£375
Size 2 - Print size: 100 x 70cm.
Signed and numbered. Limited Edition of 5 Worldwide.
£825
Full set of 12 - Print size: 60 x 42cm.
Signed and numbered. Limited Edition of 15 Worldwide.
£4,000
For buying inquires, please email shop@james-straffon.co.uk
No.19. King Crin.
No.39. The Happy Man’s Shirt.
No.53. The Devil’s Breeches.
No.74. The Daughter of the Sun.
No.76. The Florentine.
No.95. Water in the Basket.
No.126. The Five Scapegraces.
No.137. The Thirteen Bandits.
No. 145. The Widow and the Brigand.
No.160. The Left-Hand Squire.
No.179. The Captain and the General.
No.194. The Lion’s Grass.
All artwork, text and images © James Straffon 2021.
Contrôle Anti-Dopage
Contrôle Anti-Dopage
40.5 x 60.5 x 4.5cm
Acrylic box frame. Original Tour de France sign. Mixed media, acrylic and spray paint.
£2,000
For buying enquiries - shop@james-straffon.co.uk
Contrôle Anti-Dopage reinterprets the symbolism within Hieronymus Bosch's renaissance masterpiece 'The Garden of Earthly Delights'. Painted in 1505, this strikingly 'modern' triptych is said to suggest a warning on the dangers of giving in to life's temptations.
Assuming this proposition, Contrôle Anti-Dopage adopts a facsimile of some of the core symbols used by Bosch. The Garden becomes the rich pastural landscape through which the Tour travels; the Earthly Delights the highs and lows associated with winning the race through forbidden means.
Bosch's three-panelled artwork travels left to right - from the joy of the Garden of Eden, passing ultimately into the torment of Hell; light into darkness. Similarly, Contrôle Anti-Dopage takes the emotions of a Tour contender's (Roger Rivière) girlfriend as she optimistically celebrates his majesty, to finding herself experiencing the anguish of disaster, sat at her lover's hospital bedside, his back broken from a fall, the result of closet opioid analgesic abuse. She gazes back into the composition, diametrically opposing the optimism experienced that very same morning.
Like a bad acid trip, Contrôle Anti-Dopage is littered with the psychedelia of other worldliness. As with The Garden of Earthly Delights, birds mingle among the humans (including Tour sponsor Le Coq Sportif), as malevolent beings. Centrally perched on the head of Tour legend Fausto Coppi, is an owl. Bosch liberally placed this feathered creature throughout his composition, subverting its common notion as a symbol of wisdom, to represent the negative - a creature of the night, all seeing, yet blind; accepting of evil; mocking the foolishness of man. The owl in Contrôle Anti-Dopage stares at the medic man, toting the panacea of doping; a cure for all ills; acknowledging the forbidden fruit of sport and performance enhancing substances.
Since the very first Tour de France in 1903, competitors in this physically, mentally and psychologically demanding sporting event have sought a plethora of means to augment their natural state of being; some in order to challenge for overall victory; others wanting simply to complete the event.
Contrôle Anti-Dopage uses an original piece of Tour signage as its backdrop - the directional prompt for any rider required to visit the post-race doping facility. This particular sign was used in the 2009 Tour de France - significant in its chronology as the comeback Tour of a certain Lance Armstrong. The arrow points to key moments within the Tour's turbulent battle with doping, and the varied means of defying the odds. Yet on face value, the direction points backwards, not forwards.
Littered throughout this dreamlike landscape of confessions and confectionery lie the victims of success, and failure. This wonderland of giant red blood cells and the wallpaper of the everyday are the spectral trails of temptation.
The girlfriend of french rider Roger Rivière is seen reaching out to touch him as he begins Stage 14, on 10 July 1960. Moments later Rivière would plunge into a ravine; the side effects of taking the drug Palfium (Dextromoramide), which masked his ability to brake efficiently. Her anguished hospital-bedside stare follows the sign's requisition.
Fausto Coppi, Il Campionissimo, hides his face. This the Italian cyclist who on a televised interview spoke openly on his use of amphetamines:
Do cyclists take la bomba?
Coppi: Yes, and those who claim otherwise, it's not worth talking to them about cycling.
And you, did you take la bomba?
Coppi: Yes. Whenever it was necessary.
And when was it necessary?
Coppi: Almost all the time!
Another Tour legend noted for his candor with regard to doping was five-time Tour winner Frenchman Jacques Anquetil. His comment "Do they expect us to ride the Tour on Perrier water?" suggests the demands placed on professional road cyclists sanctioned the means by which they competed.
When the scheduled doctor pulled out of the 1952 Tour de France, Pierre Dumas was brought in as a late replacement. He would go on to be the official Tour Doctor from 1952 to 1969, and become a pioneer for drug testing programs in the Olympic Games as well as cycling. In the 1955 Tour, Dumas was called to resuscitate Jean Mallejac, who had deliriously collapsed on the ascent of Mont Ventoux. Twelve years later, on the morning of 13th July 1967, Dumas prophetically declared "If the riders take something today, we'll have a death on our hands". Hours later he would attempt to administer an an oxygen mask to the unconscious British Rider Tom Simpson, who had collapsed on the same slopes as Mallejac. Simpson was pronounced dead at 5:40 p.m. Dumas refused to sign the death certificate.
All artwork, text and images © James Straffon 2021.
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