BILLY CHILDISH

(B. 1959)

Self Portrait
1982

Footnotes

Provenance
Collection of the artist
Acquired directly from the above by the present owner in 2008

Literature
Billy Childish, Childish - Paintings of a Backwater Visionary, London 2005, pp. 34, 173, illustrated in colour



The artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.

Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.

Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.

Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.