The collection of great Olympians and Paralympians was an obvious target, and the multi-media portraits of Sir Steve Redgrave nearly won me over.
Sir Steven Geoffrey Redgrave
by Dryden Goodwin
drawings and video animation continuous loop, 2006
© National Portrait Gallery, London
The most striking black and white portrait of Denise Lewis was incredibly beguiling too – her statuesque physique and the most searing of stares that told you all you need to know about medal winning athletes. 
Dame Judy Dench is queen of all she sees in a commanding full length oil and the impish zest of Richard Branson screams out of a vast but intricate collage. 
Dame Judith Olivia ('Judi') Dench
by Alessandro Raho
oil on canvas, 2004
© National Portrait Gallery, London
It makes you reflect on the profound difference between the ubiquity of digital photography and the revealing brilliance of true portraiture. The first is often a poor copy of the original whilst the second interprets the inner self of the subject and the artist. So what did I chose – and why? Sorry, that has to wait for the Gallery’s own Face to Face publication – but my winner is one of the most arresting images I’ve ever seen and one day I hope to meet the artist and his subject.
The same evening saw us translated to the battle fields of Iraq. The National Theatre of Scotland’s production of 'Black Watch' tells the story of a controversial tour of duty for the famous Scottish Regiment. Is it high octane polemic or a universal human account of loyalty, and ordinary soldiery? It is certainly gripping, raw, shocking, charming and intensely human. The theatricality of the piece is outstanding – if 'Saving Private Ryan' was a graphic transfer of the battlescene to cinemascope action, Black Watch is exquisitely created and performed for the Barbican Theatre (and recently sold out in theatres all around the English/Scottish speaking world).
The accounts of an ordinary group of squaddies questioning their mission in Iraq is eloquent and painfully articulate. I feel pride that such a challenging piece can be supported in special tours all around the world, poignantly including US military bases, by The British Council. As another guest points out, there can’t be many nations in which such a challenging piece can be sponsored by a branch of Government. I’d go further and put it on upper school national curriculum! I’m glad that we’re working with The Council on a number of major educational and cultural projects – more on those to appear between now and 2012.
Leaving the Barbican late in the evening I’m reminded that if not before I’ll be back at the end of September...more of which to come, but fear not - it will be a coming together of young people perfectly inspired by what London 2012 is really about.
Writing this takes me well into the early hours of a new day – and perhaps I can’t hope for a repeat of yesterday but as we head towards London’s Olympiad I can only hope that 2012 enables us to share more days like this one.
