[ rationale ]

Much of what informs these works of contemporary art is derived from information globally identified within the context of football/soccer culture. Football has in the past been equated with the working class, and has tended to attract a generally working-class audience. But local clubs from around the world are now in International markets. The money to be made from T.V and merchandising at the National and International level has determined the interests of the club.

The emblematics of my images stand in clear conflict to the interests of the football club. These images, unlike the colour formations, are not taken from the culture. Instead they equip themselves with the status of the emblem in football culture, but do so in parody of those values associated with the emblem.

The images I have chosen for this work are comprised of details that reference some of the superstitions, heresy, colloquialisms and figures of speech that have come to be associated with a distinctly Latin interpretation of football culture.

A detail which predominates some of these images is a donkey, or the legs and torso of a donkey. The donkey as a stubborn, obstructive and lumbering animal, that works the land. The donkey with a backdrop of club colours painted on a surface composed of stitched pieces of potato sacks.

My work serves as an intermediary between a working-class culture socialised into supporting a local club, and the culture of International and middle-class supporters who are absorbed into the new football media.

References
• Giulianotti, R. (1997) Football Media in the UK: a cultural studies perspective,
Lecture delivered at Buenos Aires University: April 11th 1997.
• Morris, D. (1983) The Soccer Tribe, London: Jonathan Cape.



	A conceptual or theoretical rationale of my work.
	Much of what informs these works of contemporary art is derived from information globally identified within the context of football/soccer culture. Football has in the past been equated with the working class, and has tended to attract a generally working-class audience. But local clubs from around the world are now in International markets. The money to be made from T.V and merchandising at the National and International level has determined the interests of the club. The emblematics of my images stand in clear conflict to the interests of the football club. These images, unlike the colour formations, are not taken from the culture. Instead they equip themselves with the status of the emblem in football culture, but do so in parody of those values associated with the emblem. The images I have chosen for this work are comprised of details that reference some of the superstitions, heresy, colloquialisms and figures of speech that have come to be associated with a distinctly Latin interpretation of football culture. A detail which predominates some of these images is a donkey, or the legs and torso of a donkey. The donkey as a stubborn, obstructive and lumbering animal, that works the land. The donkey with a backdrop of club colours painted on a surface composed of stitched pieces of potato sacks. My work serves as an intermediary between a working-class culture socialised into supporting a local club, and the culture of International and middle-class supporters who are absorbed into the new football media. *References* • Giulianotti, R. (1997) Football Media in the UK: a cultural studies perspective, Lecture delivered at Buenos Aires University: April 11th 1997. • Morris, D. (1983) The Soccer Tribe, London: Jonathan Cape.