As can be seen, there are three main elements, the tent or cave structure on the left, the long 'dog' in the foreground and a banner and weapons? referees? at the back.

Of course it was all heavily personal, relating to poetry I was writing at the time and directly to my relationship with Eva, which was volatile, to say the least.

Broadly it's about a male/female battle or dance which could relate to an internal drama, i.e. coming to some accommodation with ones own male/female self as much as me and the Her or other.

I saw myself as working poetically, looking for visual rhymes and cross nuances of meaning and of course, ambiguity, were meaning or association might strike off at a tangent that seems to lead to a cul-de-sac but, hopefully, manages to turn back to, or cross reference, a major theme.

I was doing a course in Applied Behavioural Science at the North London Poly, at the same time as the Painting course at the College, which,in hind sight ,was probably stupid. Prof. DeFrancia said to me 'It might be that an artist shouldn't know too much about himself.' A good point, but lost on me at the time.

On the opening night I had some of the D.A.B.Sci. people playing 'free form, music from under the bank of seats facing the piece. All very theatrical.

Barry Flanagan came, after I pestered him in the Queens Elm. He found the writing and 'music' a trifle over egging but quite liked the piece.

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