Billy Childish is a British painter, musician, poet, author and filmmaker, who has worked prolifically since the 1970s. His work is known for being autobiographical and confessional, particularly in his writing, but his paintings in recent years have veered more towards romantic lyricism. Childish is an advocate of highly expressive artistic output and applies the same unfettered rigour to all aspects of his work. Although associated with the YBAs - (including a brief relationship with Tracey Emin in the 1980s) mostly as a critic of their intent, Childish has been at pains to stress an independence from any movement or group within the art world.
Billy Childish is a British painter, musician, poet, author and filmmaker, who has worked prolifically since the 1970s. His work is known for being autobiographical and confessional, particularly in his writing, but his paintings in recent years have veered more towards romantic lyricism. Childish is an advocate of highly expressive artistic output and applies the same unfettered rigour to all aspects of his work. Although associated with the YBAs - (including a brief relationship with Tracey Emin in the 1980s) mostly as a critic of their intent, Childish has been at pains to stress an independence from any movement or group within the art world.
An attendee of Central Saint Martin’s (although expelled before receiving his degree) Childish’s painting is deeply inspired by the post-impressionist work of Munch and Van Gogh, utilising free gestural mark-making with intense colouring to create dreamlike worlds on his large scale canvases.
Childish is represented in London by L-13 Light Industrial Workshop, with whom he has collaborated to produce a range of limited edition prints, books, records and other multiples. From provocative and politically charged anti-art to traditional woodcuts and collections of poetry, Childish constantly mines his 'Radical Traditionalist' approach to keep people guessing.
How would you describe the evolution of your artistic style over the years, from your early days as a painter to your current work?
I’ve always painted a lot from before I remember. Aged 5 I won a Kent schools prize – since then I’ve painted every week right through. I started using my father’s old oil paints when I was 11 (he painted but left home when I was 7).Things evolve sometimes quickly, sometimes it goes retrograde. At 11 I liked Van Gogh, Munch, Andy Warhol, Fancis Bacon, Dali. At 15 I was very interested in fauvism, 17 Dada, 21 Schmidt Rottluff, Holbine. Writers influence my work a lot. Dostoyevsky, Hamsun , Fallada, Walser. Other painters Ferdinand Hodler, David Milne, but always I come back to Van Gogh and Munch. I don’t try to do anything to lead the viewer - I obey whatever I’m painting. I’m invisible.
Your work is often characterised as raw and unapologetic. Can you share some insights into your creative philosophy and what drives you to create in this way?
I feel natural painting. I use god’s hand. (Not mine)
You have been a prominent figure in the garage rock and punk scenes. How has your experience in music informed your approach to visual art, and vice versa?
As a 12-year-old I painted to Jimi Hendrix. All through my 20's i painted to John Lee Hooker, Jimmy Reed and Leadbelly. in my 50s's I tried Beethoven - that’s tough. Now i paint to radio 3 - which can be challenging as Monday afternoon they often play some right royal rubbish. When making music or painting I apply the same approach: working quickly and freely without too much revision to impede the flow.
Your art often carries strong themes of rebellion and counterculture. What role do you believe art plays in challenging societal norms and pushing for change?
I do some anti-art that makes bad taste jokes at artists/politicians I find annoying (I call it ART HATE), but that’s just another leg of the fish (myself as a Coelacanth). I’m also known to be outspoken in my criticism of contemporary art, doorknobs, and culture in general. Art is shamelessly obedient to markets and money men. Brit Art, for example I termed as Bankers DADA = sanctioned rebellion. Despite my sensitive nature I ignore the art world thus keeping my painting timeless and loveable. If that means I am pure and good, so be it.
And finally, what can you tell us about your latest print series to arrive on Art Republic?
The paintings are of the parallel universe - dreamscapes; places that seem familiar but out of time. "Painting the Invisible".
