Animal rescue: but in this case it was dog that saved master, says John Dolan. Photo: Marcus Peel
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How one man escaped homelessness through drawing – and his bull terrier muse

John Dolan spent almost two decades in the “revolving door” between homelessness and prison. That changed when he adopted George in 2009. 

John Dolan seemed restless. He paced up and down the gallery, occasionally darting outside or disappearing downstairs without warning. At times I thought he might have settled, as he perched on a windowsill or lit another cigarette, but then he would be off again with George, his Staffordshire bull terrier, following patiently behind and me trying to keep my Dictaphone in range.

It wasn’t surprising that John was feeling on edge. He had just over a week to complete as many as 500 drawings of George before the launch of his exhibition on 16 July. The plan is that more than 1,000 sketches will cover every inch of wall at the Howard Griffin Gallery in Shoreditch, east London. The installation will be a fitting tribute to an animal Dolan says turned his life around. “It was all down to the dog,” he reminded me several times.

Dolan, who is now 43, spent almost two decades in what he describes as a “revolving door” between homelessness and prison. That changed when he adopted George in 2009. Caring for the dog gave him a new sense of purpose and a reason for staying out of jail. He started to draw, something he hadn’t done since school. The first picture he sold was of George, for £20.

With time, the pair became a familiar fixture on Shoreditch High Street. John drew street scenes and sold the pictures for £20 or so. When passers-by were abusive, George would bark at them as John had trained him to do. He showed me their secret signal: he pointed his finger and George yelped. “Then I’d say, ‘I’ve never seen the dog behave like that before. You’d better step away.’ ”

In 2011, the publishers of Shoreditch Unbound asked if they could print some of John’s work in their book, which celebrates East End cultural life. Other commissions followed, and after meeting Richard Howard-Griffin (who runs the Howard Griffin Gallery) he began collaborating with high-profile street artists including Stik, Thierry Noir and ROA. In 2013, he held his first solo exhibition at the Howard Griffin, where he sold some of his drawings for more than £2,000 – an impressive rate of inflation for any artist.

Predictably, a book deal ensued. Discussing his life with a ghostwriter was “like therapy”, he says. But John and George: the Dog Who Changed My Life is too sappy for me. I prefer his direct storytelling, which veers wildly from soaring self-confidence – “I thought I’m a naturally gifted artist so I might see if people wanted to buy my art . . . within a few months I was published alongside Tracey Emin” – to heartbreaking, matter-of-fact descriptions of living with mental illness and addiction.

Dolan is still adjusting to his new life. A few days before we met, he’d joined a gym. He is reducing his methadone dose, because he needs to be clean to travel to Los Angeles for his first US exhibition later this year. Although newly reunited with his family, he felt unable to spend Christmas with them. “I’ve been out of the system for so long,” he said.

Sometimes you can still see John sketching on his old patch of pavement in Shoreditch. He was trying not to sell any more drawings of George before the show, but on occasion, if he felt “sympathy” for someone, he might relent. (I suspect this happens often, because he insisted that I take one home.)

Leafing through some of his ink drawings of landscapes, I told him I wasn’t entirely convinced by his story. Surely his artistic talent – and not George – is the reason for his success?

“Nah, if it weren’t for the dog I wouldn’t have picked up the pen.” And then he was off, maybe for another cigarette, or to sketch a few hundred more Georges before bed. 

Sophie McBain is a freelance writer based in New York. She was previously an assistant editor at the New Statesman.

This article first appeared in the 16 July 2014 issue of the New Statesman, Our Island Story

Photo: Getty
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Michael Carrick is the “Geordie Pirlo” that England misunderstood

The Manchester United legend’s retirement announcement should leave Three Lions fans wondering what if?

That it came in the months leading up to a World Cup arguably added an exclamation point to the announcement of Michael Carrick’s impending retirement. The Manchester United midfielder, who is expected to take up a coaching role with the club afterwards, will hang up his boots at the end of the season. And United boss Jose Mourinho’s keenness to keep Carrick at Old Trafford in some capacity only serves to emphasise how highly he rates the 36-year-old.

But Carrick’s curtain call in May will be caveated by one striking anomaly on an otherwise imperious CV: his international career. Although at club level Carrick has excelled – winning every top tier honour a player based in England possibly can – he looks set to retire with just 34 caps for his country, and just one of those was earned at a major tournament.

This, in part, is down to the quality of competition he has faced. Indeed, much of the conversation around England’s midfield in the early to mid-noughties centred on finding a system that could accommodate both box-to-box dynamos Steven Gerrard and Frank Lampard.

As time went on, however, focus shifted towards trequartistas, advanced playmakers and those with more mobile, harrying playing styles. And the likes of Jack Wilshere, Ross Barkley, Jordan Henderson and Dele Alli were brought into the frame more frequently than Carrick, whose deep-lying capabilities were not utilised to their full potential. That nearly 65 per cent of Carrick’s England caps have come in friendlies shows how undervalued he was. 

In fairness, Carrick does not embody similar characteristics to many of his England midfield contemporaries, including a laudable lack of ego. He is not blessed with lung-busting pace, nor is he enough of a ball-winner to shield a back four solo. Yet his passing and distribution satisfy world-class criteria, with a range only matched, as far as England internationals go, by his former United team-mate Paul Scholes, who was also misused when playing for his country.

Rather, the player Carrick resembles most isn’t English at all; it’s Andrea Pirlo, minus the free-kicks. When comparisons between the mild-mannered Geordie and Italian football’s coolest customer first emerged, they were dismissed in some quarters as hyperbole. Yet watching Carrick confirm his retirement plans this week, perfectly bearded and reflecting on a trophy-laden 12-year spell at one of world football’s grandest institutions, the parallels have become harder to deny.

Michael Carrick at a press event ahead of Manchester United's Champions League game this week. Photo: Getty.

Where other players would have been shown the door much sooner, both Pirlo and Carrick’s efficient style of play – built on patience, possession and precision – gifted them twilights as impressive as many others’ peaks. That at 36, Carrick is still playing for a team in the top two of the top division in English football, rather than in lower-league or moneyed foreign obscurity, speaks volumes. At the same age, Pirlo started for Juventus in the Champions League final of 2015.

It is ill health, not a decline in ability, which is finally bringing Carrick’s career to a close. After saying he “felt strange” during the second-half of United’s 4-1 win over Burton Albion earlier this season, he had a cardiac ablation procedure to treat an irregular heart rhythm. He has since been limited to just three more appearances this term, of which United won two. 

And just how key to United’s success Carrick has been since his £18m signing from Tottenham in 2006 cannot be overstated. He was United’s sole signing that summer, yielding only modest excitement, and there were some Red Devils fans displeased with then manager Sir Alex Ferguson’s decision to assign Carrick the number 16 jersey previously worn by departed captain Roy Keane. Less than a year later, though, United won their first league title in four years. The following season, United won the league and Champions League double, with Carrick playing 49 times across all competitions.

Failing to regularly deploy Carrick in his favoured role – one that is nominally defensive in its position at the base of midfield, but also creative in providing through-balls to the players ahead – must be considered one of the most criminal oversights of successive England managers’ tenures. Unfortunately, Carrick’s heart condition means that current boss Gareth Southgate is unlikely to be able to make amends this summer.

By pressing space, rather than players, Carrick compensates for his lack of speed by marking passing channels and intercepting. He is forever watching the game around him and his unwillingness to commit passes prematurely and lose possession is as valuable an asset as when he does spot an opening.

Ultimately, while Carrick can have few regrets about his illustrious career, England fans and management alike can have plenty. Via West Ham, Spurs and United, the Wallsend-born émigré has earned his billing as one of the most gifted midfielders of his generation, but he’d never let on.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.