On the evening of Friday 9th May 1997, Sgt Vincent Creelan of the RUC, went into the Parliament Bar in Belfast to ID the body of PC Darren Bradshaw. Bradshaw had been suspended by the RUC for "attending gay parties". A friend "shopped" him that night in order to avoid himself being knee-capped by the INLA for "anti-social behaviour". 

Sgt Creelan had feared coming out in solidarity with Bradshaw, however, in the moment of ID'ing Bradshaw's body, Creelan is forced to confront himself. "ID, The Anagnorisis of Sgt Creelan". 

In 'Fifty-Five', Jonathan is stepping in front of the curtain, and confronting himself through a series of drawings, often incidental, sometimes composed. We live in a world saturated with photographic self-portraits, where few take as long to execute, and none involve such clinical self-scrutiny and invoke 

self-reflection as a self-drawing. Adopting the composition of Dlirer's nude self-portrait of 1503 provides Jonathan with the chance to investigate how different media express aspects of who and what he is now. In part also he is acknowledging those of his generation who are not here. 

Jonathan Armour's practice is an experimental exploration of man's body-surface which probes the interfaces with which that body connects with the world. The work is driven by progressive collaboration with others, built on their shared sense of otherness and questioning aspects of all our multiple selves. Jonathan has adopted the term "Theatre of Selfs" for this approach.