La Bataille D'Isigny Part 4 : After 3 Missions.

It's been more than four months since I was last in Isigny-Sur-Mer. This last time was my third operation in the town. It was by invitation and my hotel and travel expenses were paid for ().  The occasion was 'Le 5eme International Festival de la BD d’Isigny-sur-Mer' (BD = graphic novel).  I was given a corner of the municipal exhibition hall right next door to the town hall and Disney museum.  The invitation to exhibit, was for me, a public confirmation of the work I'd being doing over the summer in the town (the invitation was made by the president and founder of the association for the BD festival who is a writer, journalist and part owner of the building I rented... ... ...)

 

I worked out of the highstreet centre of operations 'Au Monstre D'Isigny' for 5 months.  I painted in the street.  I painted in the town market. And I painted every day behind the window of the high-street shop I'd rented for anyone to see.  I welcomed passers-by into my space, giving explanation to the pictures and the myth imperative that had me installed there.  I was able to present and discuss with anyone the themes my installation provoked and invoked. 

There is an idea 'art picture' art must stand alone and be capable of meaning without the artists presence.  That's OK, but can limit the pictures conversation to an art savvy public.  I've always wanted my pictures to reach a popular public like my family and the people I come from and live amongst.  When I present my work in person as I have done in public facing studios these last two summers I know and feel the works effect.  

My first mission In Isigny was shooting the guerrilla film 'LBDI : 'l'allumage les bittes d'amarrage'.  That was always envisaged as a kind of commando raid on the Disney megacorp planned and amplified because of the town's promoted association with Walt Disney ancestry.  

On the third afternoon filming in Isigny, shooting the movies finale I was dressed for mythic battle as myTHself Trinity.  Man-Camera-Martain and I had become familiar with neighbouring locals who'd mused at our antics on previous occasions.  90 mins in to the shoot we were stopped abruptly by order of Gendarmerie called out by a hairdresser who'd been alarmed by a scene he didn't understand from further up the highstreet. The police insisted we pack up and leave town.

Following this incident I felt I needed another different and better interaction with Isigny-Sur-Mer which had become a bigger part in my story.  

How should I 'meet' the town better?  

I began (post covid January 2022) with a formal appointment to meet the mayor and introduce myTHself.  I showed and explained my pictures and why one of my projects had become specific to his town.  In February and March I viewed potential properties for a base of operations in the town. I initially thought to return to the location of the film in the East of the town by the bridge. But then I saw a suitable property on a wide place at the Western end of the high-street opposite a church, the church of St.George, St.George who fought the dragon.  

I hadn't known the main stone towered church of the town was St. George's but St.George's symbol was already a significant part of 'myTHself Trinity' identity.  The structure for his map wings emblazoned across my back was a red cross.  The poetry of coincidence is sign to story for myTHself.

La Bataille D'Isigny. Part 1. Les Bittes... D'Amarrage.

Listening to local radio in 2010 I over heard the tale of Hugues D'Isigny.  He was a soldier in William the Bastards army back in 1066.  Profiting in the Norman conquest Hugues D'Isigny's decedents eventually emigrated to Canada and then to the USA.  Time and dislocation contracted the family name.  One of Hugues decedents had success in Hollywood, America and then the world.  This descendant was Walt Disney.  Isigny-sur-mer is small town less than 80km to the south of where my army and I are based.

La Bataille D'Isigny.

In December 2018 I visited Isigny-sur-mer for the first time in consideration of Disney.  A few weeks later in January 2019 I went back for a second look with man-camera-Martain.  Inspired, I asked m-c-M to take a picture of me whilst I posed.  Conducting research online I discovered the French term for Quai side mooring posts is 'bittes d'amarrages'.  I was immediately struck by this, because in French, the word 'Bitte' is common vulgar slang for the male sex organ... roughly equivalent to 'cock' in English.

In July 2019 I visited Isigny again.  I focused on the fishing quai just West of the town centre and took photos of my paper soldiers arranged about the mooring posts as if they were conducting a reconnaissance - as reported at the time on the Battle Of walkerloo Blog. 

Les Bittes d'Amarrage D'Isigny. (the mooring posts of Isigny)

All along the Isigny Quai side there are iron mooring posts.  In the C17-C19 obsolete or damaged ship cannon were fixed into place and used as sturdy convenient quai-side mooring posts.  So much so that the cannon became a common form for mooring posts throughout the world.  In French such mooring posts are called 'bittes d'amarrage'.   In Isigny it seemed to me the 'bittes d’amarrages' lining ether side of the quai are batteries of sky cannon defending the town skyscape and its dreamy cloud menace. 

La Bataille d'Isigny Strategic Model. (LBdISM)

At the centre of the exhibition space in my 2021 show 'Le dragon Baligan, myTHself & Autres Monstres' was the LBdISM (La Bataille d'Isigny Startegic Model).  The model surface/battle scape was comprised of a two part painting (in cute pink and blue 1.2 x 2.8m) of a google image search for the word Disney, framed on two sides with a printed google maps satellite image of both sides of Isigny quai.  Various paper soldier and symbolic models of myTHself were placed about the terrain together with London's cock mushroom cloud impact explosions rising at perpendiculars over the symbolic Disney surface.

I knew my next major project would be 'La Bataille D'Iisgny' and this symbolic object was constructed to enable me to engage visitor's in the idea and its potential forms.

Symbolic pieces deployed across the model included: 

Walkerloo Toy Soldiers ;

The Chinese Miners Marching With My Dad's Pit Banner ;

Google Panto Horse Corporate Beasts ;

and a few proto-type myTHself Trinity paper soldier figurines not yet published.

QUICK REVIEW*

I began making paper soldiers in 2000 - I didn't really know they were a thing.  

In early 2008 I took my production industrial.  Raising capital I had 180,000 soldiers made in a factory in Chatillon-sur-Sienne.  The paper soldiers were printed near Paris with vegetable inks.  They were glued onto two sides of a re-cycled cardboard and then precisely die cut.  In June of 2008 whilst the 193rd battle of Waterloo anniversary re-enactment raged all about I launched my army of toy soldiers before the public in the museum of Napoleons last HQ. Over the coming months I took my soldiers to museums and events all about culminating in a season of Christmas artisan markets in London. But there was opposition.

Star Wars launched its movie based toys in 1977.  I was in the first childhood cohort to encounter the global toy phenomenon.  Ever since that success, legions of plastic movie related toys have advanced across the toy shop shelves to capture the imagination of children around the globe.  

But toy soldiers are made for real pretend war - specialists.  In Spring 2009 I began to lead my troops in real pretend play battle with the plastic toys from movies and TV that are their opposition.  

I identified three major sources of spumic plastic toy adversary. The movie studios of Pixar, Star Wars and Marvel.  Disney bought Pixar in 2006 ($7.4 billion).  Disney bought Marvel late 2009 ($4 billion).  Disney bought Star Wars late 2012 ($4 billion).  And so my three major adversaries became one.

I prosecuted play war with my soldiers in short films, text and pictures. But against the largest mytho-picture controlling corporation the world has ever seen - an entity who's form boils via global propagation, sale by the billion of material objects under cover of all pervasive legalistic control. My paper soldiers were over whelmed.  I realised I must devote more of myTHself  to their mission.

Wings (1)

I've only seen angels, fairies or demons fly in films or seeming to fly in pictures.

To attain flight wings must be capable of creating lift.  For the last few months I've been making a pair of wings to assist with a flight through culture.  For more than 20 yrs I've pictured myTHself Christopher Wanker with the map of the UK behind attached to him via his cock London's Cock.

This picture made in 1998 shows me trying to become myTHself Christopher Wanker.  I've cut around some of the figures so a map could be inserted or the figure folded out into another dimension from the picture plane.   I made a 3D clay phallus with London's cock as cross section to help me integrate and act out in the picture making.

20 years later in computer sketches preparing for "La Bataille D'Isigny" I began to depict CW with his cock London's cock and a pair of map wings made adding a second mirror image UK map digitally extracted from google.  In composition with the EasterLegs and Walkerloo paper soldiers Christopher Wanker begins to become Christopher WonkerWankerWalkerloo, myTHself Trinity.

The real wings are made from 4 deconstructed 'AA Handy Glove Box Road Atlas's' (and their copyright spell) and painted fleshy mirror Britain maps applied to wood composite panels.   I hope a good flap will aid their flight after take off... scratch the face of Disney.

THE RUBBISH! "I'm All Major Brands REpresented!" (Part1)

'The Rubbish' is a superhero/monster of our time.

Origins and Development

'The Rubbish's' origins are at once obscure and all pervasive.  It is thought to be an emergent intelligence made possible by the exponential growth and sheer quantity of  man made rubbish real and virtual strewn across our planet.  A life force seems to have emerged in the new global networked connectivity of advertising and commercially oriented message media.  The Rubbish thrives on consumer waste, junk e-mail and old adverts.  The Rubbish speaks in a language solely derived from commercial tag lines and catch phrases but with occasional longer speeches strung together from obscure advertorial.  However the Rubbish has coined one catch phrase for itself  "RUBBISH! All major Brands REpresented"...

Abilities

As garbage finds its way everywhere so does The Rubbish.  It's a consciousness that seems to be able to travel and become manifest in garbage through physical proximity.  It can travel with immediacy through littered environments and that includes the internet via junk e-mail.  It is an excellent spy. Although having no actual physical strength it can hide in plain sight and in the smallest pieces of litter.  It's known offensive capabilities are suffocation and/or entombment of opponents in litter filled environments and it is thought to be capable of conjuring defensive deadly poisons depending on the proximity of appropriate litter in the local environment.  **THERE IS WORRIED SPECULATION ABOUT ITS ABILITY TO OFFER AN END OF WORLD SCENARIO IF CORNERED RELATIVE TO NUCLEAR WASTE CACHES. (oh no, in the pic below 'The Rubbish' is pictured less than a mile from a nuclear power station....FOR REAL! ... and there is a Nuclear Reprocessor only 10 miles away... with lots of nasty nuclear rubbish...)

Goody or Baddy?

The Rubbish's morality is ambiguous.  Like almost all life it wishes to continue, however human civilisation currently provides the entity with a bountiful rubbish filled environment.  As long as this condition persists we can count on 'The Rubbish' to be a staunch defender of humanity and all the crap we make.

Personality Traits

The Rubbish can be very funny, delivering advert taglines with perfect comic timing in the most incongruous scenarios.  However in regular conversation its dependence on the commercial strap lines and advertorial texts can make it ambiguous, oblique and nonsensical.  It seems to talk... a load of rubbish...

Continual Legal Conflicts

All of The Rubbishes physical, aural and virtual manifestation is constrained to human rubbish and so it's very existence is a constant contravention of commercial and copyright law protecting that 'rubbish'.  Issues will surely arise if The Rubbish ever becomes involved in self promotional merchandise!

Adversaries

There is one certain sworn enemy of 'The Rubbish'... a heroine who is known to have had considerable success in her fight... She is Trash Girl!

The Rubbish responded "because I'm worth it - every little helps"...

Who's side are you on?

Dedicated by myTHself to my godchildren Sonny & Colette.  HAPPY BIRTHDAYS 2019!!! ;0D xxChistopher Winker

EasterEggs in EasterLegs : The Jesus Leg Apparition

The animated Flash film 'The Gift Factory' (myTHself 2004) is a creation myth for the Easter Legs.  It was published on the Flash film makers portal NewGrounds and at www.Easterlegs.com in 2004 (in Flash ID [Infinite Definition!]) and on YouTube in 2010 (limited quality pixel encoded edition).

I Made it in Flash (Wikipedia) when the web was slower.  Traditional pixel based video could not download its necessary data in real time quickly enough for watchable video. Flash could use vector animation which simulated frames re-drawing them 'on the hoof' in the browser at the desired frame rate.  Vector drawings define line and area using maths.  The pictures are made from drawing algebraic graphs, giving each line and area its specific colour, thickness etc.  Designing with this in mind could give moving pictures with a tiny file size compared to pixel based video. 'The Gift Factory' movie is 6 minutes long but can be described in 700 kb of data, and half of that is the music! 

Flash movies are more like games than traditional films.  They are composed of a library of reusable graphic objects and characters.  Characters, character parts and whole scenes are made by nesting animations inside one another Russian doll style.  Flash had a simple coding language called Actionscript (Wikipedia) which could make parts of the screen responsive to user mouse clicks and cursor movement.  These areas named 'buttons' could be developed using timeline loops to make complex animated characters.  The movie maker could, game like, hand the power of directing these characters over to the mouse controller.  The resulting user manipulable virtual entities were called 'sprites'. The Easter Legs are sprites!

MIRACULOUS TECHNOLOGY

When I was testing the EasterLegs animated interface I unknowingly created a blank browser window appear with the JesusLeg alone and bleeding.  Initially I had no explanation for this screen.  A little freaked I undertook to find out how I had summoned this virtual space.  After extensive tests I realised that the window was a result of clicking and pressing the mouse over the Jesus' Leg and then moving the 'cursor' off  the 'leg image' with the mouse button still pressed.  The Jesus leg animation  is deliberately horrorful on continued mouse button pressing, did the movie's horror induce recoil in my mouse hand and thus the Jesus Leg apparition?

Having explained the phenomenon I was able to furnish this new space with intention - a few words and colours.  A miracle unaverted yet explained.  A serendipitous easter egg in WWW.EasterLegs.com




   

Christopher Wanker Pants Down. Strike Three. New Light Prize Exhibition 2017.

At home for Christmas 2015 I came upon The 'New Light'  painting competition show held biennially at the Bowes Museum in County Durham .  Born in North East England I met one of the criteria to enter and decided to try for the exhibition in July 2017.  I submitted two pictures recently made 'The Aluminum Ladder' and 'The Tale Of Christopher Wanker'.

The Aluminum Ladder by myTHself , acrylic on board, 1220x1530. 2016.

The Tale Of Christopher Wanker by myTHself, acrylic, map and false gold leaf on board, 1220x2220. 2015-16.

In September 2017 I was disappointed to receive a letter regretting to inform me that my pictures had not been chosen for the exhibition. Strike 3.  Fucked off with failure at judged painting competitions I knew I must find for myTHself a place to show Christopher Wanker.

I had enjoyed making the pictures and valued the results but failure to win an exhibition space meant in accordance, with the agreement I had made with my wife, I must return to building full time.  By the end of October 2018 the house I had begun building in 2013 was finished and let out.  I became a land lord with time to make pictures.



  

Christopher Wanker Pants Down. Strike Two. The Royal Accademy Summer Show 2015.

2015 was the bicentennial year for the Battle Of Waterloo.

Inspired by the Royal Academy Summer Show Open Call for that year I made pictures for the entry application.

In 2013/14 I was commissioned by my friend to paint a picture for his new restaurant in Cherbourg.  Respecting the taste of the patron I planned and painted a large sensible figurative acrylic composition.

I enjoyed painting at this scale and gained confidence in the pictures success at the restaurant.  I had thought painting a de-funked medium but skillfully applied paint to make a picture can be magical.

Between 2013 and 2018 I spent most of my time building a house but mid-Winter is unsuitable for building outside.  I dedicated a month to make a new picture for the show.   Judging it was time to expose more I decided to unite two disparate parts of myTHself - Christopher Wanker Fantasy banker would back the toy soldiers at The Battle Of Walkerloo.

Alas the pictures were not short listed for display in the RA summer show of 2015.  Strike 2.

I had never been completely satisfied with any Christopher Wanker photo montage picture.  Whilst living in France I took an afternoon painting class at Cherbourg art school and was shown the basics of 'pretend it's oil' acrylic painting.  I developed a kind of brush scrubbing paint technique on to a dark painted base board which had solidity.  I was seduced by the leather like surface of the painted pictures.  This Christopher Wanker had been painted onto the road map surface, which had been glued to a board.  His painted body united into the map surface as picture on to paper.  The unity of the UK road map and myTHself Christopher Wanker was much more convincing than the photo montages.  Painting the map and him together made Christopher Wanker more real, as a picture. 

too big for my studio i made him in the living room.

Christopher Wanker Pants Down. Strike One. New Work '98.

In 1996 Christopher Wanker pictures were sent along with an application to participate in an exhibition in east London called 'NEW WORK '98 UK'.  The pictures consisted of prints of photos taken of the card and paper model shown.

The model had 15 separate card figurines.  14 were to be arranged in order forming a circle facing inside or out pending exhibition context.  The 15th was to be a much larger picture, a re-representation of the finale of the series, the 'cum shot'.

The model depicted me dressing for city business/work.  When fully dressed I become one with the UK mobile phone company mini-maps I had been in front of. In the same picture plane as the map (perpendicular to the photo background of my bedroom on the floor plane behind) I am able to feel at one with my country's map and I am able to pull out my magical map cock, London's cock and become Christopher Wanker. In the next few figurines Christopher Wanker is in the trans-like frenzy of his magical masturbation and the map cock is detached from the UK road map-whole.  He slips back to the floor plane of  his bedroom - but during those ogasmic moments the UK road map is missing it's capital city.

This model was strongly influenced by the stations of the cross and main crucifix present on the walls of most/all Catholic Church's.  I had been a practising Catholic all my life until leaving home at 18.

MYthSELF assumed Christopher Wanker perfect for a role in the NEW WORK exhibition.  Alas the application for a place in the exhibition was unsuccessful.  Strike 1.

In the summer of 1998 after Englands defeat to Argentina in the world cup quarter final I broke my arm.  I stopped making Christopher Wanker pictures because of my cast, wrote a book about witches for my niece and began to get re-interested in military costume and history.  In the Fall of 1998 I met Laura with whom I moved to France and married.

The animated web object www.EasterLegs.com, 2004.

www.Easterlegs.com is a moving picture made in 2004 by myTHself, Christopher Wonker.  It was built in ‘Flash’ to be on the web in a time before YouTube and it has been live ever since.  Flash was a visually intuitive drawing program ubiquitous but almost extinct now.  Most of the imagery is ‘vector’ based giving it unlimited definition for the modest file size essential for it’s day.  The website contains about 20 minutes of animation measuring about 2MB but with at ID (Infinite Definition?! having googled this word paring I think I have just coined a new phrase - It's lovley!  ID - Infinite Definition - a special feature of vector based animation) .

Opening with an emotive ‘creation myth movie’ the website establishes a plausible new family of holiday heroes ‘The Easter Legs’. The tension is made explicit in the collective presentation of the individual family members and the values, emotions they express and provoke.

Whilst building the website Christopher Wonker discovered a page he did not create featuring the EasterLeg he calls Jesus’ leg.  He has since wondered if this was the second coming of Jesus Christ as a digital avatar or at the very least a divine miracle. See if you can find this divine Easter egg when you explore www.EasterLegs.com.

A second version of the website exists  in which the Jesus leg character is replaced by a yellow eyed pink furry monster 'Beast Leg'. Blood continues to drip although now it follows the curve of long vicious talons. This version of the site has never been 'live' on-line.

Still Image taken from EaserLegs in the costume of their father featuring BeastLeg. 




The EasterLegs dressed as their father featuring Beast Leg.

'BattlingTheBeast' Christopher Wanker pencil drawings by myTHself. 2015 (5 x A3)

Photographs taken by friends and myTHself at London's Cock 'Coming Out Of My Bedroom' Exhibition, 1996.

On a Sunday afternoon in the winter of 1996 I held the private show 'Coming out of my bedroom' in my bedroom, in Fulham, London.  I presented models and collages depicting 'London's Cock' to invited friends.  The presentation and subsequent discussion of  the map phallus overtly fixed the identity of myTHself Christopher Wanker and the logical conclusion that his cock was London's cock.

Christopher Wonker 2/08/2006 & 25/06/2017. myTHself.

He/I is the creator of the EasterLegs.  He/I is Christopher Wonker.

"It was the Wednesday before Easter in 1998, my niece was almost three. I felt obligated to send her a gift for the first Easter she would be aware of. I lived in London, she lived in the north east, I had about 3 pounds.  I went to the shops and saw all the Easter eggs, I had enough money to post a chocolate egg but not buy it as well.  I went home and set about making a gift. I was going to send her a simple chocolate bar but there is more to Easter than that... holiday gifts should be more than stuff given. The previous Christmas I'd shared a joke with my niece. I pointed to my knees and asked 'if you are my niece, who's knee's are these?' ... she laughed aloud. It was the first joke we shared. I thought about the cardboard Christmas stockings I got as a child. It had regular chocolate bars stuck to a piece of card board in the shape of a stocking, this had made them special for Christmas. I thought about Easter eggs.... Easter eggs.... and then Easter Legs!!

I drew a large comedy cartoon leg and gave it googly eyes, a nobly knee, and prickly hairs, wrote on it ''to my knees", attached a few regular chocolate bars and posted it to her. I heard my niece had been delighted to receive her Easter Leg.

Over the next few weeks I began to ponder my idea. Broke, I wondered how I could make money with it. I drew all kinds of cartoon legs: animals; sportsmen; heroes; monsters. Then I drew a cartoon leg... with cartoon wood behind it... and I banged a large cartoon nail write through them both, the cartoon nail wound of the cartoon leg ran red cartoon blood. I had crucified an EasterLeg.  What was it's relation with Jesus' leg?

Brought up through the catholic church this Easter Leg picture/idea held power over me. I loved it. But to sell the idea must I forget it?  This tension of values interested me and was the turning point in providing the ideological momentum for the animated flash website www.EasterLegs.com. "

How Christopher Wanker came to be. 19/09/2006 & 25/06/2017 myTHself.

He/I is Christopher Wanker. He is at the centre of myTHself.  He was the first part of myTHself to come from Christopher Walker.  

"See me.  In my suit I feel a part of my country.  I feel it between my legs.  I see how it unites me with my country.  My cock is London's cock.  With my cock, London's cock, I began to play with mythself.  With my cock, London's cock, I propagate myTHself.  It's what my cock, London's cock is meant for.

I come from within myTHself, from a driving ambition to be part of you.  I am my ambition seen frustrated and fulfilled in my grotesque and surreal unity with the map of my country.  I am an image aroused by desire to be before you and get into you. Put my cock London's cock into you, seeding myTHself...  Look at the map of my country and see part of myTHself... I mean business - mean I business, 

I am Christopher Wanker and I am here so you will see and consider myTHself.

For years I have remained within myTHself, behind Christopher Walker.  Within myTHself I always had the knowledge that I was, that I could come out.  It sustained myTHself through the banal labours of Christopher Worker painting the walls in people's lives brilliant white with obliterating  emulsion.  I feed the egoism in myTHself that puts myTHself before you and in you.  You have perhaps all, already looked at my cock, London's cock, but only now thanks to me  can you see it!  My cock is London's cock, it's my fantastic tool for cultural propagation, dissemination - it's in you!"  

Hitching North & South

How did I come to see it and how did it become a part of me?


In the week after Easter In 1994 on the M1 motorway south of Nottingham I sat in the back seat of a car whilst the two blokes giving me a ride talked in the front.  I was hitch hiking south having visited my family in the North for Easter. I saw the rear of the truck in front and it said ''Hula-Hoops'' a brand of potato snack I knew and ate.  As we overtook I saw 'Hula -Hoops' was also on the side of the truck. The next truck we passed said nothing, it was blank on the back and on the sides... I began to see blank sided haulage vehicles all around. Trucks with hauliers own details on the sides seemed almost meaningless to most of the public who saw them.  With a quick count I estimated two thirds of the working haulage trucks' existing surface space could communicate with more relevance to see-ers on the crowded British road network.

Over the next few months I spent my time turning this observation into a business plan. I called it "SMAC'm" - Strategic Mobile Advertising Campaign media.  I knew nothing of business and little of advertising but began the project with belief in the idea and self confidence.  I was living in west London surrounded by the affluent business class.

I immersed myself in the creation of the business plan.  To help me visualise the roads and hauliers locations I pasted my bedroom/office with a large scale road atlas of Britain.  It covered the walls and the ceiling wrapping the insides of my room I worked, slept and dreamt in.

His London bedroom/office/laboratory in Fulham, London.

I saw how business needed demand for it's product - with care for little else - and how advertising encouraged and created this demand - with care for little else. I became disillusioned with them both.  My belief in the feasibility of smac'm remained but my belief in its reason to be was undermined. Without money or experience raising the capital for my idea would be difficult. But without my belief it was impossible. In an attempt to persuade my self I thought up 'De-Ad' and fantasized that with profits from SMAC'm I could create a de-Advertising communicative work which would present the other side of the product of business.   ... together they made SMAC'm DeAd, and it was.

The corps of my schizophrenic business fantasy SMAC'm DeAd enveloped me.  Filled with frustration in my thwarted ambition I stared at the map of my country pasted on to the walls of my office... of my bedroom.  The map represented roads constructed over hundreds of years by the desires of the country's people to move them and theirs about.   On the roads were the trucks, and on the trucks would be the messages my vision had enabled.  My fortune would come from the advertising I had foreseen and that advertisements potential to tap into the desires of my country.  And I saw it rising in the form of the main roads north out of London, The A1(M) & the newly finished M11... rising north from the newly completed orbital motorway, the M25. At once it was part of me. My cock was London's cock.  I became united with the map, the form of it, of my country and me.

Over the coming months I excitedly explored my fantastic new anatomy . I became myTHself Christopher Wanker , banker of fantasy, whose main interest would be the interest of others and who in his suit could feel apart of his country.

myTHsel's bedroom/studio/office/gallery Parson's Green, Fulham, London circa 1996

myTHself, Christopher Writer about Christopher Wanker 19.Sept 2006.