“Tag Team is more to do with modernity,” says Mosley, “possibly more accessible in iconography. There’s a bearded vanitas on top of a cowboy boot (shades of Clint Eastwood), an afro motif (20th-century disco), a ballerina outfit, and oriental moustache; a cobra with a portrait-cum-camouflage on the back of his head and a guy jumping out of a gramophone: all the makings of a provincial play. There used to be a milkman in the north of England who told me various stories about his clients, some were full-time miners and Wrestlers. He told a fantastic story, about the diets of the wrestling giants, like Big Daddy and King Kong Kirk, TV idols I grew up watching in the 80s. Modern American wrestling is very Hollywood and proscribed in comparison, but then UK wrestling was almost a part-timers’ event in the ways of diet and training – these characters were real ardent professional amateurs compared to modern wrestlers and were happy to stay on the provincial stage. It’s about layman being fantastical. It reminds me of Jonathan Jones saying something about the characters that imagine a balletic Wild West as if painted by Watteau.”

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