Categories
art Gay Love Rant

Saudi Ricky

Love.  Love between men.  Love between men older and younger.  Love between two men an older atheist and a young Muslim.

1.

I spent most of the summer in the French Alps.  Chamonix.  It was not my intention. My old friends are enduring a difficult and uncomfortable separation.   I was meant to stay for two weeks and ended up staying for two and a half months… unwinding after my MA experience at the Royal College of Art.  Applying for residencies and making sense of what I can do next… write or paint or both.

I spent a lot of time on my own in the chalet drawing and writing.  

In the morning I would wander into the centre of Chamonix and buy a croissant and some meat and cheese and later have lunch with one of Nicola’s friends. I’d cook dinner. Nicola was often stressed by her divorce lawyers or her child’s demanding diet or a phone call that needed perfect silence. To be fair… the child is recovering from cancer, therefore the entire family are recovering.

Occasionally I’d half heartedly check the various hook up apps on my phone without (thankfully) getting obsessive… obsessed with receiving validating messages from men I knew I would never meet.

One evening the phone buzzed and I get a message from a cheeky, smiling Arab boy….  he’s into chubs and older men.

‘I’m old.’ I send a picture.

I don’t want him to be disappointed and I don’t want to be humiliated by rejection.

“The older the better.” he replies.

The photographs of him are beautiful. He has a million dollar smile, raven black, wavy hair and sparkling brown eyes.  I hadn’t met anyone since I arrived in Chamonix so we agreed to meet by the Hotel Pointe Isabelle in the middle of town.  I sat waiting on a concrete bollard looking in the direction he says he is coming. 

Of course he’s late so I message him and say if he isn’t there in five minutes I’m going home. Despite his tardiness I felt optimistic which was unusual since stopping my antidepressants. It was a warm and balmy night and I knew instinctively he was worth waiting for.  

After a few minutes this boy scampers up to me like a big black Labrador puppy.  Full of joy and smiling broadly.  

“Were you really going to leave?” 

He had an American accent and later learned he had brilliantly picked up all the English he knew from TikTok… from kinda black street TikTok.  He would say laughingly,

“I’m going to slap the shit out of you.”

He was prone to using other, rather less salubrious epithets.  Liberally using the N word. Maybe not so much of a problem in French speaking society but very problematic when, after a few months, he made it to the UK.

“Guess where I’m from?” he said. 

I looked at him and guessed Saudi. 

“How did you know!” 

He wanted me to call him Ricky but I refused.  This invented name made him seem like a cheap rent boy.  He thought the name made him seem like an angel… a ‘bohemian angel’. His own Arabic name was far grander and so romantic when he said it with his slight lisp. 

His family are Bedouins from Mecca. His father is dead… he doesn’t like his step-father. His Mother… a powerful family matriarch.

It was immediately apparent why he craved attention and validation from older men but I guess I chose to ignore it.  At that moment in Chamonix I only wanted to see the world through his eyes.  

A slightly framed boy who thought he was much tougher than he actually turned out to be.  

Moments after I met him he grabbed me by the hand and dragged me into the night.  He had a delightful, infectious energy and obviously used to taking control of much older men.  

We walked along the banks of the River Arve, a raging, chalky, ice melt torrent that makes its way quickly through Chamonix. When he was sure nobody could see… he kissed me.  He held my hand and wouldn’t let it go. 

“I am so happy you stayed, you waited for me.” 

I asked why he was late, he said… rather too candidly, he had met another man… a French guy but he didn’t speak English and the French guy had tried to bundle him into his car. 

“So, if he’d spoken English… we wouldn’t have met?” 

“Tomorrow we would have met.” 

He kissed me and smiled his magic smile. 

We meandered home, stopping along the way for moments of oral pleasure… on the railway bridge for instance… and after that night he never really left my bed until his family vacated their hotel in Chamonix and drove to Austria. 

During those first beautiful days we were together he wanted to try everything.

“I feel safe with you.”

He told me he never drank alcohol but wanted to try… so we went to a bar and he drank alcohol for the first time. I sat beside him expecting the worse but he was perfectly fine. Alcohol, pork and sushi… all for the first time. We spent as much time as we could those five beautiful days, enjoying long walks, delicious dinners and great wine. 

After his first sip of alcohol he wondered how many sips it would take to make him drunk.   It was charming and funny… though, as it turned out, a grim portent.  

“I want to feel drunk!”

He left me… after midnight, alone in my bed. Preceded by frantic calls from his family. His Mother would not give him a key to their rental so he had to arrange with her to be let in. He explained they didn’t trust him. They accused him of being secretive.

Most of the men in his family are cops, his step father works for the Saudi secret service.  Saudi is one of the most surveilled places in the world.  Secrecy is his life and his life was one big secret. It was imperative his family could never get to the truth of his gay life.

Like gay men all over the world he’d learned as a teen to expertly lie about everything, lying to those he loved… perfecting a code of conduct that maintained secrecy at its core. He became a genius at obfuscation. 

For him… guarding the truth is a matter of life or death.  His earliest memory of seeing a gay man?  Watching a video of a young gay man having his head chopped off.

“Before I met you… I’d meet two or three different men every day.” He said, with a disarming giggle.

What sounded funny and innocent in Chamonix became a big problem for both of us when we finally met again: his desire for many men and his crippling adherence to secrecy leading to a destructive double life.

None of that mattered as we enjoyed our time in the French alps. He was very generous with his affection. He told me he loved me over and over. 

“I love you so much!”

Love bombed.

“I love you more.”

It was utterly intoxicating. Of course I was aware the LOVE word needed to be taken with a grain of salt… but I wanted to believe it. I wanted it. Every time he used that word.  The L word. I wanted it.

Thankfully, the conversation between us was easy. He was curious about everything and I was curious about him. As we grew closer he shared feelings about his gayness, his family, his culture. Sharing feelings was very risky for him because sharing in Saudi culture is a big deal. He believed a man should be discreet about his feelings.

I shared my skin diagnosis with him and he delighted in rubbing the steroid cream into my skin. I felt ashamed of the rash but he taught me to love it. He demonstrated again and again his kindness and compassion. I have never received so many heart emojis… so much love.

What ever story I might have been writing in my head I knew this was a holiday romance, a delicious love story… a short story, not a novel.

After a few days… he was gone.

He left an abyss.  A gaping wound where love had been. 

I could taste him on my lips… for weeks. 

2.

We spoke all day every day after he left, a blizzard of heart emojis. raining down on me as he and his blended family toured Austria, Germany, Switzerland and Italy. Of course I knew he was drinking heavily and meeting men.  I never asked too many questions. It was none of my business what he got up to even though I was desperate to know.

Aware of the unmanageability of my love addiction inclination and abandonment issues I paid special attention to my recovery after he left. I attended SLAA meetings to avert what could become a catastrophic obsession… avoiding fantasy and future casting… of course I told myself many times there could be no great love with this Saudi boy.  There would be no great love.  Why?  Because he was young and recently freed from his Saudi bondage.  Anyway, his experiences with men were scant and he wanted to improve his ‘body count’. 

Thankfully, he knew recounting his many sexual escapades would make me sad.  The further away from me… the stranger he became. When he was with other men I thought of him as Ricky. When Ricky arrived in Italy he suddenly stopped communicating and I knew he’d met someone.  I missed his calls but he had a greater calling… needs I could not meet.

After a few days of silence he finally started communicating again, he apologised admitting he’d had his head turned.  I wasn’t surprised. Of course he was going to meet other men!  What irritated me? The quality of the men he was meeting.  The way they treated him!

Stephane, his new love, was a nurse from the small city of Verona.  He lived in a one bedroom apartment on the edge of town.

Ricky shared his concerns about Stephane. Stephane began making demands on him.  Stephane demanded Ricky shave his moustache so he look younger. Stephane demanded they have a three way so he could show Ricky off to his friends.  Ricky was determined Stephane was the one. Ricky was desperately trying to make a relationship work with this Italian queen by trying to appease and acquiesce to both sexual demands and harsh criticism.

It was heartbreaking to hear because I’d treated my beautiful boy with such respect and love.

Ricky and his family flew home to Saudi Arabia.

When Ricky returned to Mecca he dutifully assumed his hetero mask, his real name and straight boy activities.  He would drive hard and fast with his homies, get into fist fights, hang with his cop cousins and nephews.  He showed me where he lived… it was all at once grand and horribly run down.  No trees.  Brightly lit interiors.  A maid waiting to serve him and his family.

He was miserable, desperate to come back to Europe, still obsessed with the nurse.

After a couple of weeks in Mecca discussing the Italian with me and his Irish best friend Harold… he finished with the demanding Italian and told me he’d made a terrible mistake. He wanted me. He realised what love was. I was his boyfriend.

Ricky resumed the relentless love bombing and… I was there for it.

Insanely enmeshed, blinded by love… I embraced my new romantic role with alacrity.  

We began planning his covert return to Europe.  It took some time for him to accept London as the obvious destination.  He wanted to meet in Istambul. In retrospect that might have been a better idea.

He couldn’t tell his family he was travelling to London. His family told him London was very dangerous for Saudis and he would be killed on the streets. Unfortunately, a Saudi youth had been recently stabbed in Cambridge and understandably his family were terrified.

After a tense few weeks of indecision Saud picked up his passport, booked a flight to London and didn’t tell a soul what he was doing. 

3.

The day he arrived in London we were both exhilarated and terrified.  He stepped into the Heathrow arrivals hall and for the first time in his life he was truly free.  Free from his family, free from oppression and free from fear of corporal punishment for being gay. 

I had no idea how this would play out although I wanted to encourage him to find himself a gay life, I also wanted him to continue giving me the love he had so freely given in Chamonix. 

The first few days were very interesting for us. He loved the weather, the gloomy skies especially. He loved the elegant streets, the parks and different kind of food.  It was disappointing he had no interest in art or films or history, no interest in culture but I assured myself I could live without culture for a couple of weeks. The fissures in our relationship became immediately apparent. I ignored the lack of compatibility… believing love would prevail.

I loved him scampering around the house. I loved covering him in kisses when we woke in the morning. I loved his proximity and sexuality. I learned a great deal about his faith. He prayed five times a day. It was beautiful watching him pray. All of his Muslim rituals were beautiful.

He is a dutiful and devoted Muslim.

From the moment he arrived in London Ricky was plagued with calls and text messages from his family. They insisted he return to Saudi… immediately. They threatened him with military service. They wanted pictures and videos and proof he wasn’t lying. His Mother refused to speak to him… terrified he would apply for asylum. His sister thinks he is sick and should get psychiatric help.

We ignore the calls and explore London. I wanted to see the city through his eyes. We walk the length of Brick Lane and eat Indian food.  He steps into the Brick Lane mosque but isn’t impressed. He says he feels threatened by the Indians. We find an open mike free styling rap event in Shorditch. I love it. I have no idea if he likes it. He is quiet and tentative in the club. Like many Saudis, I discover… he is very racist. Constantly worried a black or Indian man will steal his phone or beat him up.

He hated people thinking he might be Indian. He hated me describing his cock… as black. It is.

That first week the weather is dry and bright, we walk all over town, traversing the city… pastel de nata from the Lisboa.  Bloody Mary’s in The French House.

After a few days of being polite and doing Duncan things he decides to up the ante. He wants more. Very quickly Ricky’s prime motivation became alcohol. He loved buying and drinking a lot of alcohol. Experimenting with alcohol.  Shots.  Doubles.  Pints.

Inevitably he wanted to visit the gay bars in Soho. Ricky wants to experience for the first time… a totally gay environment. So, begrudgingly, I took him into Soho and from Poland Street to Dean Street we had ourselves a little pub crawl through all the hideous, down at heal gay pubs and bars he wanted to visit so badly.  These filthy bars had not changed since I was his age, bars I’d made a documentary about at film school.

Back then, people like me thought those old fashioned gay bars with blacked out windows would surely close in favour of new, pride orientated bars with open windows so those glorious, youthful muscle queens could be seen. We were wrong. Those pubs didn’t close… because there would be a perpetual tribe of older gay men holding onto the past, a past which included smelly, sticky West End pubs.

I hoped Ricky might become disinterested in Soho… on the contrary he couldn’t have been happier. He was enchanted. He loved Comptons and The Admiral Duncan, he loved Rupert Street and the Freedom Bar.  He was entranced by the men he found there… especially the washed up, elderly men drinking far too much.

He followed an elderly man called Scott, covered in badges into the bathroom and took his number. Scott became the focus of his attention. He didn’t limit himself to bars, there were men on Scruff, the men from Grindr… all eagerly looking forward to meeting him. It turned out Ricky love bombed them all. Sending promises of true love, the beneficent king of a promised land.

In Ricky’s kingdom the bells were ringing, the men were gulping shots, shaving his balls… King Ricky raining heart emojis over them all.

The only obstacle for Ricky, as it turned out… to have the best possible time… was me. The ‘boy friend’. With me he was leashed, without me he could make those old men’s tawdry dreams come true. Their dream of beautiful Arab Ricky who wanted nothing more than a kiss and the promise of true love.

For Saudi Ricky to have a great gay experience where he could fully explore this new world I would have to let him go.  Consequently, with my blessing, Ricky checked into an Airbnb in Ebury Street and I told him I’d pick him up in four days hoping he would get out of his system whatever had been yearning to be free.  I dropped him off at the hotel and said a brave goodbye.

I genuinely believed, after four long days of drinking double/thrupple/quadruple vodka and red bull in Comptons with trashy alcoholics… he would dash back to me and resume a civilised life.   On the fourth day we arranged to meet.  I was shocked to see him. He looked like he had been living on the streets.  His hair was lank, his skin was muddy and his bright eyes had been dulled by exessive drinking and fucking.  His clothes stank of sex and bad aftershave.   The concierge at the hotel told me he’d only spent one night in his room.

The night we reconvened I asked what he wanted to do, he told me he wanted me to meet his friends in Soho. Despite my suggesting alternatives he wanted nothing more than to head back into Soho for a drink. When we arrived in Old Compton Street he high-fived the pub security like he was some kind of local gangster.

“I know all of the security.” he boasted.

Running from one bad bar to another as if he had invented bar hopping.  Drinking excessively, shot after shot…

“Let’s get the fuck out of here. That’s what we do. We go from bar to bar. You’ll hate it.”

The men with whom he had been consorting winked at him, secret smiles.  They fist bumped him. One of them told me Ricky had kissed all of them, spending time in the toilets… having sex.  He bought them drinks. Always doubles.

Not wanting me there he tried to force me to drink shots and would feign disappointment when I refused… as if I were betraying him.  We were fast becoming strangers.  I wasn’t interested in his new world of old bars and he wasn’t interested in my old world of temperance and good conversation.  He wanted nothing more to do with me other than texting me from a strangers bed to tell me he loved me.  He did the barest minimum to keep access to my life just in case things went badly wrong.

The four days he had been on his own in London he had not budged 200 yards in one street in the West End and he wanted more of the same.  Much more.  Greedy for more alcohol and more sex. I never socialised with him after that night.  I tried but I hated it. I truly hated it and I hated him for his decent into alcoholism.

He would pop home when he wanted something but that something was not me.  The sex went from sparkling and beautiful to perfunctory.  He was far more interested in the many men he could have than the one man who loved him.

If he stayed over he would have no shame checking my phone. In an attempt to be open, honest and non judgemental I let him see whatever he wanted to see, yet he remained secretive about the endless notifications he received. He became increasingly and sloppily dishonest. 

“You’re be angry if you knew the truth.”

I caught him using hook up apps even when I didn’t need to ‘catch’ him because he could do whatever he wanted.  He insisted on treating me like I had seen him treat his family when he was in Chamonix.

I’d ask him what he was up to.

“I told them I have a boyfriend so I just kiss them.”

People I know would report on his antics. He became infamous very quickly. Not all of the men appreciated his attention. They knew what he was and told him to keep away. It was humiliating.

“They called me a heartbreaker.” He laughed.

To keep sane I stepped up my Al-Anon and SLAA meetings but he had derision for therapy and for those sharing thoughts and feelings. He asked if I told my various meetings about him… he asked every day if I had been talking about him.

By the end of the second week he was spending £250 or more a night on alcohol. Buying drinks for the men at the bar. He announced alcohol was no longer working and he wanted something stronger. A day later he had white residue around his nostrils. I cannot and will not tolerate drugs. I don’t give a damn if he had been kept on a tight leash. Drugs were out of the question for me to be around. Of course he denied taking drugs. His demeanour told me the truth.

Ricky and Harold

His friend Harold of 3 years arrived from Ireland, a charming and intelligent man, my age or older. An award winning architect this was the first time he had met Ricky. Harold gave me something real to hang onto in this increasingly dirty and miserable situation. We had a lovely lunch in a Vietnamese restaurant, chatting about normal things whilst Ricky would hug and caress Harold.

“Does me hugging Harold make you jealous?”

When he stayed at Harold’s lodging he said,

“We didn’t have sex. We just hugged.”

I realised I had stepped in dog shit. He was like stepping in dog shit.

The penultimate night of his visit, Harold gone… he called me from Old Compton Street at 2am to say he would be back in a few minutes and could I open the door?  I waited for him until 4am. When I opened the door, he smiled like he was some cute kid who made a silly mistake… he tried hugging me so I might forgive him but I felt nothing. 

“Why didn’t you stay with your friends?”

“They didn’t want me in their houses.” He said.

A quiet rage was building in me.  A rage that would sadly spill into the following morning.

“Why didn’t you get a hotel?”

He started to snore as the sun came up. I couldn’t sleep… seething with resentment.  He was laying beside me stinking of alcohol, drugs and other men.  Laying there in my fucking bed after I had for so many years carefully protected myself from this kind of person.  This kind of scum.  He had morphed from a gentle, kind and loving man into the worst of everything I hate about gay life.  

This is what gay life does to some people.

I am laying beside him praying I might forgive him, forgive myself.

At 11am I woke him and asked what he wanted to do our final day together.  Would he like to go have dinner in Shorditch? He dismissed the idea we might spend time together.  He had already made plans with his new friends. 

At that moment my fury boiled over.  I tipped him out of bed. Why are you staying with me? Why didn’t you stay in the Airbnb? I angrily stripped the bed of the stinking sheets. I told him to leave. I’m raging.  I’m frightened I might hit him. This slight boy who thinks he’s a fucking heavy weight boxer. He sneered at me and I slapped his face. Get out of the house.  Get the fuck out! Ricky shuffled downstairs and out of the door and that was that.

It was over.

Goodbye Saudi Ricky.

That afternoon I had drinks with a Saudi friend from the RCA. I shared my experience. It came as no surprise to my friend.

“Saudis are arrogant, that’s the way they are.”

I felt bad about my temper. I felt ashamed I’d let anger get the better of me.

That night I had dinner with PH at the Chelsea Arts Club. It was a wonderful evening. I roared with laughter. It felt so good to laugh with a very old friend.

I’d thought about going into Soho and finding him but what was the point? He would be too drunk to hear my apology.

The following day I took the tube to Heathrow and waited until he turned up at departures. He looked terrible. I apologised for my bad behaviour… knowing I would never see him again. I hoped he would be safe in Saudi and his family would forgive him.

“I forgive you.” He said. And I forgive you Saudi Ricky.

We had two hugs. Nothing like the first time I hugged him. Nothing like the love I had once felt from him. He shuffled off toward the gate and I didn’t look back.

Categories
art

Art and Activism

Artists Statement: The Fusion of Art and Activism Through Lived Experience

Come Death and Welcome

RCA 2024/25

Duncan Roy—a filmmaker, artist, diarist, and unflinching blogger—challenges conventional boundaries between art and activism. His creative practice is intensely autobiographical, yet deeply political. Over decades, Roy’s blog has become not just a personal archive, but a platform from which he reflects on identity, injustice, state power, and the transformative possibilities of creative expression. This essay traces how his artistry and activism converge through five key domains: biography as protest, cinematic resistance, detention and mobilization, intersectional vulnerability, and archival defiance.


1. Biography as Political Testimony

From the outset, Roy’s blog isn’t simply a diary—it is a form of public dissent. He writes of wearing pale-blue overalls in L.A. County Jail “for all the world to see” that he was gay, forcing visibility into invisibility’s place in vulnerability. He observed the oppressive nature of that uniform—that it made him, like countless others, a marked entity at the mercy of authority. This is art as bearing witness, transforming private humiliation into public conscience.

Roy extends this through reflections on American racial violence. Addressing cases like Eric Garner’s murder, he rejects the notion of a “broken system,” contending instead that the system is working as designed—one that disenfranchises Black communities, weaponises grand juries, and allows police brutality to go unchecked. Here his writing becomes moral testimony—a literary act of rebellion that disrupts the sanctioned narratives of law and order.


2. Cinema as Queer Class Critique

Historically, Roy’s most notable work, AKA (2002), dramatizes the life of a working-class gay youth who assumes aristocratic identity to access safety and privilege. Drawing from his own story, Roy exposes how class and sexual identity intersect in the performance of respectability—yet also how this concealment extracts a heavy emotional cost. The film’s narrative is both claustrophobic and liberatory: a personal coping strategy turned cinematic subversion, exposing how identity can be both armor and erasure. This tightrope walk between art and social critique remains central to Roy’s oeuvre, though in later pieces, the activism becomes more overt.


3. Wrongful Detention and Public Mobilization

Roy’s arrest in 2012—stemming from what began as an extortion allegation involving his former lover—quickly turned into a nightmarish saga when an ICE hold barred his bail. Despite being a legal U.S. resident, Roy remained imprisoned for 89 days under a policy most often used to detain undocumented immigrants. His blog and media interviews recounted how the Sheriff’s Department treated ICE holds as arrest warrants, denying bail and compounding a Kafkaesque injustice.

Far from allowing this to remain a private tragedy, Roy stepped onto the public stage. He became a class representative in a lawsuit with the ACLU and NDLON, challenging the detention of immigrants without bail in L.A. County. Through advocacy and narrative, he turned personal trauma into legal challenge—another example of art (here, his blog and public writing) morphing into civic engagement.


4. Intersectional Vulnerability and State Critique

The complexity of Roy’s activism deepens when we consider the intersections of race, immigration, sexuality, and state violence. He poignantly writes of feeling what it must be like “to be black in the USA wearing those overalls” imposed by the jail system. This imaginative solidarity isn’t an appropriation—it’s a deliberate empathetic strategy. By using his privileges and voice to reflect on privilege and dispossession, Roy mobilizes his art to draw attention to broader systems of oppression.

Further, in his reflections on Gaza, Roy does not shy from confronting the global-minded viewer. He condemns the killing of Palestinian children, denounces the complicity of UK and European leaders, and even recounts attempts to raise awareness through his work at the Royal College of Art—which was, in at least one case, removed by staff. Again, his creative output is inseparable from his political stance. His paintings, installations, and writing refuse to turn away from brutality.


5. Archival Activism: Memory as Resistance

Roy’s dedication to archiving—donating forty years of diaries to a national archive, and ensuring his films are preserved at UCLA—demonstrates a profound belief in memory as activist tool. In a world where queer, immigrant, and working-class lives are often erased, Roy’s life becomes testimony, resistance, and cultural artifact. His blog surfaces as his most radical artwork: an unformatted, expansive, messy, and urgent narrative resisting closure.


expanded narrative integration: Art, Activism, and Identity

Let us explore more closely how Roy’s art—across mediums and contexts—becomes activism through the raw force of personal identity.


A. The Private Exposed as Public Reckoning

Roy’s blog is, in essence, a performance of nakedness. His struggles—addiction, mental health, shame—become invitations to readers to probe beneath social veneers. When he writes of being numbed by antidepressants—“no writing and no sex”—only to feel alive again once off the medication, he chronicles mental health with sobering honesty. These entries urge us to confront the stigma around both therapy and creative decline.

His relationship with recovery communities like AA/NA also surfaces tension, as he recounts hypocrisy in recovery spaces that privilege image over truth. These reflections aren’t just introspective; they’re calls to reform systems that are meant to heal but often ostracize.


B. Political Witness Through Creative Embodiment

Artistic symbolism saturates Roy’s reflections. The pale blue overalls, the black paintings, the textual imagery—each becomes emblematic. When he speaks of shadowed bodies, body bags, gardens scorched by Malibu fires—all rendered in paint or prose—he transforms trauma into aesthetic form. These objects and narratives become carriers of suffering, evoking empathy, recognition, and resistance.


C. Institutional Confrontation and Individual Agency

Roy’s detention and subsequent litigation forced institutions to justify their treatment of detainees like him. His visibility as a legal resident trapped by ICE highlights the arbitrary cruelty of mass detention policies. Through that personal story, he exposed the broader machinery. His blog entries, media quotes, and court actions formed a tapestry of resistance—one woven from the threads of art, suffering, and legal claim.


D. Empathy Beyond Identity, Anger Against Complacency

One striking dimension of Roy’s activism is his willingness to use empathy as a political strategy. He acknowledges his positionality: a white, affluent man—but also one displaced, detained, shamed. This bifocal lens allows him to inhabit both vantage points: identifying with the incarcerated, the marginalized; but also critiquing the mechanisms that made him complicit. His blog becomes a device to dismantle complacency—even among those comfortable with their privilege. He purposefully irritates complacent white gay men, reminding them “the battle is never won”.


E. Globalized Conscience

Roy’s activism extends beyond U.S. borders. His reflections on Gaza, and the institutional suppression of anti-Israel artwork at the RCA, illustrate an artist unwilling to be neutral. His making art about tragic events—and then having it removed—becomes an act of protest. In recording these censures, Roy reveals the fragile tolerance for dissent in academic and artistic institutions—and underscores the political nature of art itself.


Conclusion: The Art-Activist as Lifelong Witness

Duncan Roy’s work—spanning film, blog, archives, painting, and public interventions—demonstrates how art can be sustained activism. His artistic voice is inseparable from his ethical concern; his identity is not cloaked, but exposed as conduit for broader social reckoning.

Whether describing jail uniforms as markers of racialized vulnerability, recounting detention as legal grotesquery, bearing witness to systemic racism and international atrocity, or preserving queer working-class narratives for the future—Roy’s creative practice manifests as civic testimony. His life, captured most fiercely in his blog, is his most radical art: an unfinished manifesto demanding both recognition and justice.


Categories
art

Chamonix

Thoughts and Feelings August 2025

The white, much older American sitting with his very young Thai wife at the cafe… where I am writing this diary, wonders out loud how there can possibly be so many ‘obvious muslims’ in France and wonders more how they even got out of their Muslim countries to enjoy a holiday in Chamonix.

1.

Yesterday Morning. Walking with my friend Helen and her little dog through the Gorges de la Diosaz, up and down the perfectly beautiful river path, along a steep, well constructed board walk.   There are many beautiful waterfalls to see as well as an outcrop of black slate and glittering quartz to admire.  On the viewing platform at the highest point we looked further up the canyon toward a huge rock jammed into the narrowest part of the gorge.

Dramatic and beautiful.

A perfect place to contemplate and relax. 

On the way down from the furthest point we were stopped by a young, rather jovial father of two toddler boys.  He asked how much further a walk to the summit.  I answered his question and asked where he was from. 

“Israel”, he said. 

My blood ran cold.  Who would have guessed this normal looking man was from a country where it is perfectly acceptable to support child killing monsters in the military and the government?

I felt for my life.  If I told him I was Iranian maybe he would try and kill me? If I had kids… would he try killing them? How intimidated the Muslim people climbing the gorge would feel if they knew this man was on the same path.  

It has become apparent… there are no innocent Israelis. 

I was immediately plagued with violent, intrusive thoughts! Imagining him throwing little kids into the gorge.  I imagined him killing, killing, killing.  Here he was, enjoying the waterfall as if… as if he were a normal young man, not a member of a murderous ethnostate, a citizen of a country who daily mutilates and kill babies, who murders unarmed civilians, whose politicians unashamedly call for more mass murder, who lie compulsively or control the democracies and media of most Western or ‘white’ nations… then accuse anyone who tells the truth about their cruelty and mass manipulation as racist.

My look must have said all of this because in the split second it took me to acknowledge his reply he looked very uncomfortable… even though I said ‘enjoy your walk’ and turned on my heels.

Walking away from him I contemplated this despicable, smiling man and the state of the ongoing genocide… angry and sad just how little I could do to help the people of Palestine. Regular people like me are forced to live ‘genocide adjacent’.

We are powerless. Reduced to micro-protests.

I wondered, after this is all over, after the last Palestinian has been killed by Israel… how I could ever look into the eyes of anyone who described themselves as an Israel supporter or ‘proud zionist’ like our nasty, complicit Prime Minister.

The Israeli man’s smiling face stayed with me well into the night… as I cooked dinner for us all, as I chatted with my lover (now flown home) and fell into a fitful sleep.  Palestine will be free.  We are all Palestinian, we will be free despite our various governments attempts to silence, outlaw and shackle us. A Free Palestine may not look like we think it should: land returned to the people who own it, a true democracy etc. but those of us who stayed true to the people of Palestine and spoke out despite the threats of imprisonment can live without the shame most should feel for not speaking out.

2

At the head of the Gorges I asked the ticket seller about the impressive rock fall netting.   They must be really expensive, I asked. 

“Yeah, very expensive.” he said.  

At ¢7.50 a pop and over 1500 visitors a day, the Gorges de la Diosaz makes more than enough money to keep the canyon pristine and safe.

Nicola, on her way home from Geneva got caught in a traffic confluence.  She thought it might have been some kind of road traffic accident.  Nicola saw a little white car with a huge dent in the roof.  As it turned out, it was not a traffic accident… more an act of God.  

Despite the steel rock fall netting… a boulder, loosened by the heavy rain, had crashed onto the little white car killing two of the four driving home.  A terrible tragedy.  Makes me think twice about travelling the elevated carriageway from Chamonix to Geneva.

3.

This blog has been my primary artistic practice for decades.  I kept a written diary before the blog.  I started writing my diary in 1980 as I didn’t want to forget a thing happening to me.  Life was so exciting and continues to be.

Then, five years ago, I stopped. I was living in Portugal, taking those antidepressants after my brush with covid death.  The anti-depressants meant no writing and no sex.  I suppose instagram took up the slack.  Picasso said that painting was like keeping a diary. I feel the same about instagram.

Now, I’m writing my blog and having sex.  I’ve missed the rough stubble of a man’s kiss.  I’ve missed the touch of a man. Chamonix is packed with super fit men, young men with thick, naturally coloured beards.  Even though I have one… I really don’t like grey beards. 

Writing my blog.  Journalling they call it.  I like that this blog can be found on-line… if it’s looked for.  I’m still a little embarrassed by some of it… however well written it is.  Did I really say that? 

Over the years I often repeat myself.  Mulling over the same anxieties year after year.  Some things never change.

Today the mountains are hazy with fog, mist lingering in the canyons.  The rain is heavy, thunder and lightening… chasing away the insufferable heat.

I had a fascinating reception to my queer artists blog.  Most gay artists, regardless of how similar their work is to others, fiercely defend their artistic uniqueness.  They seemed a little put out their ‘originality’ wasn’t so original.  One of the younger artists I mentioned in my previous post was a little condescending about our connection as artists and as gay men.  

I’m queer, you are gay. They’ll be another moniker soon enough to describe these Friends of Dorothy.   The list of homosexual description is very long. Queen, faggot, batty boy, pansy, nancy, fudge packer, arse bandit…. Queer is just the most recent re-appropriation.

Ivan, do you remember the list of words we used to describe our penis… when we made the show?  Starting off quite amiably with all the usual: prick, cock manhood etc.… and ending up with ‘weapon of war’?

This blog is my most successful body of work.  A continuing expression of my artistic freedom.  A set of portraits, landscapes, observations and sketches across time and space.  

I’ve noticed recently how I’m less interested in people knowing what kind of art I make.  This is the art.  This is the art.

www.duncanspark.art

Collating the past years work for my art site… I realise I can’t settle on one style.  Each edition looks so different.  Who would know the painting I painted were made by the same artist who make the textiles or the installations or the photographs? Let me be candid… each film I’ve made could have been authored by a totally different film maker.

Of course there are plenty of artists who muddle along exploring various styles without settling… like Kippenburger or Mike Kelley.  One died of alcoholic poisoning and the other of suicide. 

Suicide, certainly something I’ve considered.  Death by choice.  When the opportunities dry up, or life becomes too boring… when I can’t realistically contemplate a useful or creative future.

I assembled all sorts of work at the RCA, using all manner of materials and styles.  I assemble, like I tidy other people’s houses,  rearranging, interfering… knowing when not to interfere.  Never truly happy with what reveals itself until I hit the sweet spot.  

Taking each beautiful element, placing it beside another in the hope sparks might fly from the untapped energy within.

Categories
art

Fear and the Fury

Neil Bartlett, Ivan Cartwright, Duncan Roy and Robin Whitmore, polaroid images from Pornography: a spectacle ICA 1984

I become the gay man I am… not by expressing any innate sexual desire but by joining a particular culture, by learning a particular language. I’ve always thought we should be ‘going in,’ not ‘coming out’. At whatever point we choose, we enter a gay/queer culture which already exists, and in joining that culture we find ourselves amidst a variety of styles which our gay peers offer us. We define ourselves by adopting or refusing these styles.

Even though I had good reason to, I have only recently had the audacity to call myself an artist but have consistently loved, collected and connected to artists. Here are three young queer artists whose work touched me deeply… and explore similar themes.

I first discovered Ty Locke at the University for the Creative Arts in Canterbury in 2018. His degree show was utterly compelling.

Locke is currently enjoying a well deserved solo show at Commune in Vienna. As part of this show the spectator is drawn into a darkly lit basement past posters suggestive of adverts for drag performances mimicking past events of an imagined venue. Within the room they are met with a series of melted plastic chairs arranged as though in a sex club.

Prem Sahib was my visiting tutor at the RCA. Another well respected queer artist. Central to Prem Sahib’s earlier work are men only cruising clubs, where you can ‘lose yourself, escape societal constraints, or simply fuck’.

For ‘DESCENT I. People Come & Go’, held in November 2019 at Southard Reid gallery in Soho, London, Sahib reproduced the subterranean area of a cruising club. Viewers felt their way through immersive tunnels of steel where they met half-stripped men, abject and unresponsive.

Diogo Gama is a Portuguese artist who pushes for queer visibility. His show Teleny at the General Assembly gallery in London drew its name from a pornographic text he found as a boy in an abandoned house. These works by Teleny are attributed to Oscar Wilde. Gama’s show is a synthesis of borrowed images, words and media. In Before I forget, Teleny Sweats, Albeit Covertly, Elsewhere, Gama utilised a towel purloined from SweatBox, a gay sauna located in London’s Soho.

These three young artists among others revisit themes we were unpacking in 1982 during the making of our devised performance commissioned by the ICA, Pornography: A Spectacle. We too were reclaiming gay sex spaces: saunas, fetish clubs, drag bars… fearlessly talking about our sex lives, dragging up, getting naked on stage.

Walking into Prem’s show at Studio Voltaire in 2024 felt like walking into the ICA in 1984.

The space we created at the ICA 40 years ago directly connects us with Prem’s cruising club, Ty’s sex club… haunted by Teleny’s ghosts. We are in the same space! The vastness of this tunnel, this mineshaft set over decades, unchanging… the smell of cigarettes and rotten beer, sticky floors… voyeurs glimpsing the same cast of men pretending. Drugs muffling the thumping beat, my heart is beating. Listen, can you hear the distant, thudding music pierced only by the gasp and grunts of men penetrated, men cumming… undeniably the same… wearing leather drag… disco drag… I’m on my knees.

Time is the greatest distance between two sex clubs.

They came to see us naked. I must have handed a thousand fliers late night at Heaven, The White Swan, The Two Brewers and The Vauxhall Tavern as they were lining up to get in. They asked, Are you in it? Will we see your cock?

We packed the ICA with gay men and made a ton of money.

At first I was petrified, Neil Bartlett the director was scary and uncompromising. My voice was tiny. We opened the show with a dance routine, Hot Stuff by Donna Summer. We were almost naked. The audience were salacious, lascivious… then, after ten or so minutes I found my voicehe. The audience started to see themselves in all of us on stage and relaxed a little… then they laughed… then they cried.

One particularly gripping monologue, describing violent sex with a hook up. The details were shocking, a foil to the tenderness and vulnerability reached by the end of the scene: the two holding each other, sobbing. There is only one man to whom I say, ‘I love you’. My lover. “I love you” marks a status, not a feeling, therefore “love” becomes the most taboo of all words men say to each other.

For all our bravado the audience recognised how vulnerable we all were.

I’m assuming the word queer is more inclusive than the word gay. Apart from the rebranding… what else has changed? Prem, born 22 years after me, Ty Locke was born when I was 36 and Diogo… when I was 38. Yet, these artists are making sense of their gay/queer lives in much the same way Robin, Neil, Ivan and I were unpacking ours in 1984.

Pornography is quite wonderful, outrageous, intentionally shocking — but with real human beings stepping through the sensationalism at regular intervals to speak between the screams of cliché in normal conversational tones about who they are and how they really feel. The recurrent theme is one of intense pornographic description, which the actors suddenly stop, pause, and say, “of course that was merely a quotation,” or “but it really wasn’t like that.” Sky Gilbert

Using the language and locations of our gay lives as the springboard from which we leapt into something unimagined for the purpose of our devised spectacle. Using our experiences of the clubs, bars and saunas in London during the late 70’s early 1980’s. Wryly comparing the reality of our sex lives (we were all in our 20’s) with the fantasy of available paper/video pornography and the attributed pornographic work of Oscar Wilde who used the pseudonym Teleny for the purposes of his erotic writing.

All of this… against the looming spectre of an AIDS epidemic which had broken over London, was no longer an American ‘problem’… and, of course… the casual, often violent homophobia from the Police and the general public alike… whenever they could get away with manhandling us.

Sahib recreated interiors from The Back Street (1985-2022) an East End leather bar at Studio Voltaire in Clapham as we recreated scenes from similar leather bars and bath houses at the ICA.

The Back Street opened the year we made and toured our show.

As we used the red flock wallpaper from the gay bar coat check… the tantalising space between the street and the promise of cheap beer and easy men. Prem appropriated the lockers from the changing rooms at Chariots bath house (1997-2016) they were dumped in the car park. The lockers were subsequently acquired for the Tate Gallery’s permanent collection.

By contemporary standards the spaces we inhabited in 1984 were neither inclusive nor safe. The bars were frequented by white gay/bi men, sexual assault was common place and I don’t know if we knew anything about consent.

I went to my first, late night gay bar in Margate 1976 and stumbled out into the morning light in New York City, 1997. The year I got sober.

I have always craved the right to be visible… yet in 2025 I still think twice before I hold my lovers hand in the street. For 40 years I have second guessed myself and recognise the same PDA editing in the work of these younger artists. Invisibility, shame, fear and isolation have figured in the work of all these artists and… this old artist. Both then and now I summon those ghosts who haunted the lives of my gay ancestors: Shame, Fear and Isolation.

Is this inevitably who we are? Is this why gay artists 4 decades apart continue to explore the same themes? The streets are dangerous, the right vilify us, we are robbed, assaulted or murdered in search of sex or comfort.

Why do I want my lover to choke me? To slap me? To piss on me? Insult me? Why do I demand my lover do to me what I fear most on the street? Treat me violently because I am familiar with a glancing blow. Call me names because nothing you can say will ever sting as much as a stranger recognising what I am and calling me a faggot.

I recoil when you know who I am.

Comfort me when the violence is over… kiss my wounds.

As we were touring our gay show about sex worldwide, espousing the sexual freedoms we thought we enjoyed in clubs, bars and bathhouses the AIDS epidemic was crashing into our community.

By December 1985 when we finished our tour, reprising the show at the ICA… 41,200 gay men had been killed by AIDS in NYC alone. Killed in one year. Imagine this. Please. A generation of mainly young gay men. Men like Prem, Ty and Diogo.

I move to NYC in 1985.

I recoil from gay sex. I save my ass. I didn’t die. Why?

Brad, a beautiful young bar man serves me a Long Island Iced Tea at Sip and Twirl on Fire Island… he has a huge smile and perfect abs. I’m going to extravagantly tip him and flirt like my life depends on it. Later that night we pass each other on the boardwalk. Just a kiss. Brad wants to get fucked under the moon in The Meat Rack wearing his black leather waistcoat.

That beautiful boy, and boys like him… after the summer season in the Pines, they’re chasing the dollar serving cocktails back in the city at my favourite bars: Area, Saint, Boy Bar. Those barmen are so fucking beautiful.

We didn’t know what was happening out on the meat rack, as Brad was getting fucked by multiple men hanging from the trees in a makeshift sling… we were unaware. We didn’t know our little community would become the epicenter of the East Coast AIDS epidemic.

October 25 1985: The New York State Public Health Council empowers local health officials to close gay bathhouses, bars, clubs and other places where “high-risk sexual activity takes place.”

As the epidemic worsened, whenever we could face it, my partner Joe and I would covertly visit St Vincent’s Hospital and sit with young men dying of AIDS. We lived opposite the main entrance of the hospital on 12th Street and 7th Avenue. It is gruelling to watch a young man die.

The next time I saw Brad… he’s in St Vincent’s hospital sweating, writhing, delirious on his sodden bed. He’s covered in disfiguring lesions… crying out… crying out he doesn’t want to die! We held him as best we could. A few days later another gay man is in Brad’s bed begging for his life.

Brad will die alone. His Christian family stay away from the city. They are too ashamed to hold his hand or comfort him, mop his brow… he is torn away from life, from his beautiful gay life, a life ended by AIDS… in shame, fear and isolation.

1984/85

January 11: The U.S. Center for Disease Control (CDC) revises the AIDS case definition to note that AIDS is caused by a newly identified virus.
March 2: The U.S Food and Drug Administration licenses the first commercial blood test to detect HIV.
April 15–17: The U.S. Department of Health and Human Services and the World Health Organization host the first International AIDS Conference in Atlanta, Georgia.
April 22: AIDS activist Larry Kramer autobiographical play, The Normal Heart opens Off-Broadway at the Public Theater. The play covers the impact of the growing AIDS epidemic on the New York gay community between 1981-1984. The play’s protagonist, Ned Weeks (Kramer’s alter ego)who is desperately banging on the doors of government and science in an attempt to stave off the annihilation of gay men.
May 1: As Is the first play about AIDS to make it to Broadway opens. The play gets excellent reviews and runs for 285 performances.
July 25: Actor Rock Hudson who played leading roles in over 60 Hollywood films, announces he has AIDS the first major U.S. public figure to do so.
August 31: The Pentagon announces that it will begin testing all new military recruits for HIV infection and reject those who test positive.
September 17: President Ronald Reagan mentions AIDS publicly for the first time calling it “a top priority”.
October 2: Rock Hudson dies of AIDS-related illness at age 59.
October 2: The U.S. Congress allocates nearly $190 million for AIDS research.
October 25: The New York State Public Health Council empowers local health officials to close gay bathhouses, bars, clubs and other places where “high-risk sexual activity takes place.”
December 4: The Los Angeles County Board of Supervisors enacts strict regulations on local bathhouses to stop the spread of HIV.
December 19: A Los Angeles Times poll finds that a majority of Americans favor quarantining people who have AIDS. By year’s end, the United Nations states that at least one HIV case has been reported from each region of the world..

Do artists even talk about AIDS anymore?

Neil, Ivan, Duncan and Robin images from Pornography: a spectacle ICA 1984

Categories
art Love

The Devil Wears Walter Van Beirendonck

I arrived in Chamonix a few days ago. The first night I arrived I checked that gay meeting app and left a message for a mysterious man on-line. You know, most messages go unanswered, liaisons cancelled at the last moment, people are not who they say they are. Surprisingly I met the man without any complications. He looked like the pictures he sent, he turned up where we had agreed and he stayed close the four days until he left. He held my hand. He kissed me. He gazed into my eyes with an affection I thought I would never again experience. Now he’s gone. We speak all day, every day. I don’t think I have ever sent so many heart emojis.

I’m staying with a very old friend in the chalet she designed and built in the heart of Chamonix, the various mountains with all their unusual names tower over us. Yesterday we drove through the valley toward Switzerland, parked up, took a gondola and a chair lift to a wide open pasture where in the winter thousands of skiers hurtle through the snowy landscape. We were aiming for a refuge where we would stay the night but we went the wrong way… walking an hour or so in the wrong direction. By the time we arrived at the refuge my legs ached and the big toe I broke years ago… felt like it was dropping off.

However, I loved the refuge, we sat on deckchairs and looked out into the inky black universe above us and the lights of Chamonix below us. As I ate the delicious dinner they served us and played card games with my friend and her daughter I couldn’t help thinking about the starving people of Gaza, all of us under the same sky. I was angry thinking about our white western governments and how corrupt they are and how much I detest our Zionist leader Starmer. How I loathe the way our democracy has been sold to Israel.

As I tried to sleep on the hard bunk in our open dorm I fretted over my powerlessness. There is nothing we can do to make a difference to help those poor people. Those children desperate for food, shot in the head as soon as they are handed their meagre rations.

This weekend hundreds of people will stand up for our democracy in London. Ready to be arrested for holding a sign. Our despicable government. How did we get here? When did I understand the lengths the establishment will go to get its own way? It started with Corbyn being smeared with anti semitism when he won the Labour leadership. Pictures of our military target practicing on his face? It became worse when he forced a hung parliament and Theresa May into an unholy alliance with the Ulster Unionists. Corbyn nearly won that election, the establishment lost their shit and evil Labour MP’s like Lisa Nandy threatened to break Corbyn as a man… the same rhetoric the Israelis use to describe what they are doing to the Palestinians.

Our government is not our own. Starmer is running our country for the zionists and the 1%. Selling off more publicly owned assets to assuage the greed of the 1%, defending the companies the 1% already own who are presently stealing from every man and woman in the country. Poisoning our rivers and seas, stealing our private information and selling it to the highest bidder, letting evil companies like Palentir prepare us for the same violent treatment presently meted out to the innocent, unarmed Palestinians. Mark my words, what you are witnessing in Palestine… Starmer and Nandy, with no hesitation, will do to us.

I was dressed very inappropriately for a mountain walk. I don’t have any mountain gear. I don’t have boots or lycra or a padded gillet. I do have a thick Walter van Beirendonck sweater and an Etro cashmere scarf and wide denim jeans. Although sartorially shocking to fellow alpinists I was perfectly happy.

Anything else to report? Not really. I drank my first Negroni last night… which was rather good. I speak to fellows from the RCA. Apparently the beastly Jordan Baseman is behaving impeccably and let’s hope my blog and the complaints of others will cause him to reflect and think twice before he treats students next year like he treated some of us.

Categories
art

Royal College of Art REVIEW 24/25 PART THREE

Chamonix July/August 2025

Gaza Body Bag RCA 24/25 Cancelled art work. Granite, paint, rope wool, cadaver bag.

‘Painting is just another way of keeping a diary.’ Pablo Picasso

Sitting at my desk in view of these great mountains.  I feel calm and relaxed but aware of an impending tempest creeping toward me.  I’m ordering canvases and pigment paid for by my host. I wonder how these nascent feelings will make themselves known.

I can’t help mulling over my time at the RCA.  If I hadn’t been on anti depressants these past five years I would have reacted very badly to the way I was infantilised by the tutors at the RCA.

I might have laid on the floor and screamed like the baby they thought they were poking.  

Sitting in the office like a naughty boy because… I didn’t say ‘they’ rather than she.  Because… I took up wall space.  Because… I chose a 9 by 9 canvas to paint.  Because I had frank conversations about sex. Their beady eyes, condescending eyes… enjoying their opportunity to admonish the confident, award winning, accomplished film maker and performance artist.  I felt like I was in a petting zoo with these curious animals nipping at me to see what I was made of. 

Goading me. Will he strike back?

Ok, I made a deep dive into the fetid world of academia. I escaped… and am happy to breath fresh, mountain air. In all my days I had never been in such a toxic, competitive environment.

‘Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.’ Andy Warhol

I started taking anti depressants after I contracted covid in 2020.  I stopped taking anti depressants the month before last.   The veil lifted.  The brain shocks took a while to fade. I want to fuck again… I began having deeper, less controlled emotions.  I am far less patient and very snappy.  Regardless of all this… I am pleased to be back in the world of full fat feelings… with a solid desire to express myself.  Somehow I was less motivated to write and make art when I was under the chemical cosh.

Ross and others shared they were on anti depressants.  I wonder what their art would be without the mind altering drugs?

I have been in and out of hospitals for decades… as and when my mental health gets the better of me.   The longest time I spent in hospital was a whole year.  The mentally ill are far better understood now, than we used to be.  However, I never really felt my mental health was taken seriously in the RCA petting zoo.  Did they expect me to be rational?  

The angry Chinese guy who challenged me after my first RCA blog raised an interesting point.  He suggested… I didn’t want to learn anything at the RCA and just applied to the school for ‘validation’.  The first part is easily debunked.  The second part of his comment is more interesting.  Do I crave validation? 

Well, yes… I do.  I write to be read. I paint to be appreciated. I crave applause from the audience. I desire film reviews. The tears and laugher from those who watch me tell my story (flay myself) at an AA meeting.  I love when people comment on my blog. I love the attention… good and bad. 

That boy threatened to ‘drag’ me and I came in my pants. I love it when you tell me I’m a great cook. I love it when you praise my garden and the way I decorate my house, the art I have chosen.

I am unashamedly a validation junkie… I faint with pleasure when you hate me as vigorously as you love me.

I am the jouster and a jester… a validation junkie.

Art isn’t about the creator, what they think, or how they interpret their own work whether it’s poetry, music, or paintings. It’s about the spectator and how they interpret it.‘ Oscar Wilde

As the RCA recedes and the people I met… who I didn’t know a year ago, I will not remember a year from now.  I can scarcely remember men I have had months long relationships with.

I am a stone skimming over the surface of life.  I have little interest in knowing people for long.  To meet them once is enough.  Or to boast… I was there.

10 convivial moments.

  1. I saw Joni Mitchell play Fez under Time Cafe on Lafayette in NYC. 1995
  2. I saw Ivan Lendl play Boris Becker, Wimbledon. 1986
  3. I stomped divots with the H.M. The Queen on Smiths Lawn. 1984
  4. I had dinner with Heath Ledger, Michelle Williams and Ian Drew after a private Prince concert at The Roosevelt Hotel. 2007
  5. Fred Hughes introduces me to Andy Warhol at The Factory. 1985
  6. Rufus Sewell calls as I am driving my F150 up the PCH from Malibu to Topanga. Our friend and massage therapist DL discovered our friend Heath Ledger dead in his bed. DL doesn’t alert 911, DL calls Ashley Olsen. 2008
  7. Jim Ede at Kettle’s Yard with Ricky DeMarco. 1988
  8. Dinner with Morgan Stanley CEO John Mack, his wife and daughter at The Mercer describing the moment Timothy Geitner calls, the banks are failing, asking what to save: The people or the banks? 2015
  9. New Years Eve, Mercer Kitchen dinner with Nicole Kidman, Tom Cruise, Sporty Spice, Fran Leibowitz, Alan Cumming, Calvin Klein, Martine McCutcheon and Matt Goss. 1999
  10. Province Town, my birthday party thrown by Michael Cunningham. Guests include Jennie Livingstone, Andrew Sullivan, Douglas Friedman, John Derian, Ken Fulk. 2015

I don’t currently have communication with any of the people mentioned above. I don’t need to. I knew them as much I needed to know them, at the precise moment I met them. I didn’t need to go to Wimbledon again, I didn’t need to know Sporty Spice… and she didn’t need to know me.

Although… quite unexpectedly, I was taken to the home of Joni Mitchell by her ex husband on Laurel Canyon the night we thought we saw Elizabeth Taylor dining at the Chateau. It wasn’t Elizabeth.

Jennie Livingstone Provincetown MA 2015

The friends I have are on borrowed time.  I will know them… until I tire of them.  I suppose that’s why gay life suited me, the transitory nature of gay life, one night stands… casual sex… anonymity.   The social mobility of my gay life, one day a Duke another a dustman.  Listening to their stories then passing on… cum in my beard.  

This is why AA suited me… the constant flow of desperate people with desperate stories flushing through the rooms of AA.  Never settling, skimming… like me, over the surface of life. 

This is why Hollywood suited me, meeting people but never engaging with them for anything than the duration of the ‘meeting’.  I am at Leo’s house showing my movie in his very own cinema… I will never see him again.  I am on Malibu Pier with Jen and Brad having breakfast… I will never see them again.  I am walking with Channing on the beech… I will never see him again.  All I am left with is the story of a fleeting moment and that’s all I want to be left with.

I was at the RCA with Xavier, I’m bound to say… when he is a huge star. ‘We drank hot chocolate made with oat milk at Parker’s as he fretted over which major gallery to sign with.’

Gaza After Guernica 2024/25 RCA Paper Graphite Oil Stick

2.

Every day I see the most atrocious, sickening and heartbreaking images from the killing fields of Gaza.  The mass murder curently happening in my name to the people of Palestine.  Kids murdered.  Kids starving.  Kids full of hope over a bag of lentils then shot in the head.  A five year old child shot in the head holding a bag of lentils.

The UK government is fully complicit in these murders.  Starmer, our sinister Zionist leader, makes dreary, unemotional speeches promising action but does nothing.  He and other European leaders like Macron, are making Israel’s genocidal dream come true.   I tried to address this in my work at the RCA but it was removed by Harold Offeh, like the work of another anti Israel artist Zina Karaman… controversial elements of her work removed by the staff.

Art.  Making art.  I just donated 40 years of diaries to a national diary archive.  The rest of my archive and all of my finished movies are held at the UCLA Library Film & Television Archive.  

I have never stopped making work.  Perhaps my most audacious artistic endeavour is this blog. First a diary… now a blog.  There are huge gaps I am trying to fill, playing catch up writing the missing years by hand.  

My friend has an atelier I will use as my studio.  Tomorrow I’ll clear it out.  I want to finish the series of black paintings.  Paintings to remember the burned Malibu garden.

Cactus Tree

by Joni Mitchell

‘There’s a man who sends me medals
He is bleeding from the war
There’s a jouster and a jester
And a man who owns a store
There’s a drummer and a dreamer
And you know there may be more
I will love them if I see them
They will lose me if they follow
And I only mean to please them
My heart is full and hollow
Like a cactus tree…’

© April 1, 1968; Siquomb Publishing Corp

Categories
art

Royal College of Art 24/25 Review Part 2

10 artists to watch.

1.

Tyreis Holder www.tyreis.art

2.

Ramone K. Atherton

3.

Hiro Shen @hiro.attuned

4.

Nanci Byrne www.nancibyrne.com

5.

Rudolph Taylor www.rudolphtaylorart.com

6.

Annie Edwards www.annieedwards.com

7.

Jordan Rubio @jordanrubio10

8.

Alex Pillen. 10058713@network.rca.ac.uk

9.

Xavier Laurent Leopold www.xavierleopoldstudio.com

10.

Anthony Chit On Cho www.anthonychitoncho.com

Categories
art Queer

Royal College of Art 24/25 Review Part 1

Embroidered Drones Silk Satin RCA 2025 30 cm x 15 cm

Contemporary Art Practice is situated on the second floor of the RCA Studio Building, Battersea, South West London. This is where I’ve spent the last eight months… unpacking my thoughts and feelings, trying to make sense of a richly creative life, just at the very end… when most men are retiring, I wanted to squeeze the very last of myself from the tube.

At the RCA open day I was shown around the brand new Herzog and de Meuron Studio Building by Contemporary Art Practice (CAP) student Stuart Lee and Head of Programme Chantal Faust. 

Chantal has a huge presence, she is elegant, enigmatic and has immense charm.  I asked her directly how she thought an older person might fit in, would get on at the RCA? Chantal assured me I would be just fine. It was because of Chantal’s assurance I applied for a place.  You see, Chantal Faust demands respect.  Like so many students before me I was immediately and unexpectedly in awe of her… I would willingly be the best person I could be… for her.

I was accepted onto the course and arrived in September ’24 but almost immediately my beautiful dream was compromised.  Chantal Faust had been appointed The Dean of the School of Arts & Humanities, she would leave CAP immediately for her new role leaving Jordan Baseman temporarily to rule the roost. 

I’d learned many years ago an expectation was a resentment waiting to happen.

Jordan Baseman.

The first time I met Jordan it quickly became apparent he was nothing more than an argumentative contrarian… my worst nightmare. Formerly, this sour little man was head of sculpture at the RCA but I couldn’t find out why he left this prestigious role.

I should have withdrawn from the course as soon as I heard Chantal Faust was no longer at the helm but I was caught between a rock and a hard place. Forced to choose between Jordan Baseman’s CAP or… returning to caring for my Whitstable friend Georgina ravaged with Parkinson’s Disease.

Despite Baseman, I set aside my resentments and got on with the work.  I arrived every morning at 9am and left at 10pm when the studio closed.  I worked compulsively… blowing up this blog, ripping apart the language and locations of my queer life.  Holding the past 60 years by the throat. Erasing and repairing. I took the AA 12 steps and vandalised them…

Out of the 100 or so on the course it quickly became apparent that only a few, maybe 20 students, were as committed as I imagined all students would be.

I learned how to cast bronze, machine embroider, scan images and blow them up, knit and weave Jacquard, paint on canvas… I explored AI and learned how to manipulate existing digital images. I felt unstoppable.

I settled into studio life and despite the disappointments my experience of making work was joyful. I loved the daily interactions with my cohort. I loved the conversation with those who could speak English or who bothered coming in, the exuberance, the love and inclusion. I was made to feel welcome and loved. I felt, through my work, a closer connection to God.

After a few weeks, buoyed by my enthusiasm, I foolishly went to see Jordan Baseman and tentatively asked if he was interested in the successful people I knew in the art world with a view to asking them to maybe give an informal talk. I mentioned a name.  Baseman looked like I had thrown acid into his face.

“Why would we want to meet a dinosaur like that?  We’re not interested in the commercial art world here.”

He just couldn’t help himself. I have rarely been so taken aback.  I felt it very personally.  Oh… so I’m a dinosaur.

When I shared with him during the same conversation I had a new appreciation of Francis Bacon he scoffed, he said he never wants to hear a student laud a dead artist like Francis Bacon.

I told him I found the process therapeutic. More scoffing. He wanted me to know, ‘we don’t do art therapy.’

Although he didn’t fuck with me during a crit, I heard from others he was vicious when he thought he could get away with it.

When it was time to be assigned my personal tutor… guess who I was lucky enough to get? Jordan fucking Baseman. Dr. Dutch Alex also had enough of Baseman so we both complained and were reassigned Dr Vivienne Griffin.

Jordan Baseman is also in his 60’s. In spite of his desire to cast a deep shadow over my experience I took the dinosaur insult and ran with it… for both of us.

I began introducing the image of the dinosaur into my work, firstly I designed and commissioned… a black… heavy duty… nylon… 9’ tall, inflatable dinosaur which, from behind, looks like a giant butt plug/dildo.  Fuck you Dino. Dinosaurs showed up in my painting, my embroidery, my drawings.

Separately, I realised everything I’d considered important I needed to sweep away. The highly structured way movies needed to be written, the competitive collaboration with other writers in writers rooms. None of that seemed relevant to this new way of life.

I referred, instead, to my time making performance art in the 80’s. I wanted to make a connection with the artist I was then, Making The Host, Bad Baby, Copper’s Bottom, Pornography, a Spectacle etc. Perhaps I wanted to connect to a simpler time, a time of unencumbered, youthful enthusiasm… when nothing seemed impossible.

As I was merely lodging in London I brought my clothes into the studio and my space became, unwittingly, the focus of my work.  The wardrobe, the closet, to be hidden in and revealed from. Garment bags morphed into Body Bags by way of the continuing Israeli mass murder in Gaza.  

I erased Elizabeth Hurley from the film I made with her. Digitally… scene by scene.

If I expected any formal teaching… forget it.

As much as I tried I couldn’t shake the feeling all of this work was in vain. I couldn’t… with an open heart share my most personal work with Baseman, the thought made me nauseous, fearful and angry.

As for the other staff? I’m assuming with no clear course leadership they seemed lacklustre and uncertain.  With the exception of Anne Duffau, George (?), a couple of visiting lecturers and the brilliant, inspiring artist in residence Aditya Pande (who had his own serious issues with the way he was treated). The rest of the staff were utterly parched.  Intellectually desiccated.

Mel Brimfield for instance hated me because I called a work ‘Blood, Shit and Cum’ and when I insisted during a crit the mute Chinese people have an opinion… OMG, she didn’t like that one little bit.

Then there was harpist and John Cage derivative Vivienne ‘they/them’ Griffin who lectured me for 45 minutes (during my tutorial… one of four per annum) about taking up too much wall space and why white men and the patriarchy always do

Vivienne seemed surprised I had cast the bronze elements in my work.

She sneered, “I thought you were the kind of person who would pay to have this made for you.”

Vivienne, who I recognised from AA, I had so much hope. Until she mocked my ‘dramatic’ greeting. It’s true, I threw my hands up with joy and called out her name when I saw her. She seemed to hate my gayness? I wasn’t ‘queer’ enough for Vivienne. I’m obviously an old, old fashioned gay. It felt sometimes like they were forcing me back into a closet.  But the reality was/is they simply couldn’t understand this old gay man and made no effort.  

When I hear the word dramatic used pejoratively to a gay man, I hear… faggot.

Most revealingly Vivienne noted I had achieved what most artists hoped to achieve. The awards, the plaudits and the exposure. She asked, why? Why are you here? What do you expect to achieve with me?

Some of them referred to me at a ‘mature student’.

“Nope…” I said, “Just a student.”

They were casually ageist without seeming to know it because somehow ageism slipped their mind in their cannon of woke protections… maybe slipped their inclusivity training or maybe they were just too busy they/theming to listen to the ageism bit on zoom… or nipped out for a £10 juice baby just before the old fart part. 

Their ageism repulsed me.  They hated the idea… old people had sex, talked about sex, enjoyed sex. The cult of daddy repelled these rich kids. Was I alone? Nope, It wasn’t just me, many of the older students across all departments were treated very badly by fellow students and staff alike.  

I consoled myself Jordan Baseman was a wounded soul and generally vile to all… so I shouldn’t take it personally.  He is a break them down and build them up kinda guy.  He was cruel to Finn and Michael and the older dutch woman whose name escapes me (Alex?). Like… theatrically cruel.  We listened at the door as he and Michael screamed at each other in the staff room. 

A few weeks into the course Baseman was magically replaced and without explanation by Dr Harold Offeh as programme head.  Two programme heads in as many months.

Harold, oh dear, is the kind of artist who simply doesn’t register as an artist.  He should be running an infant school.  Harold, tied up in they/them politics, takes endless pics of himself: thin, fat, clothed… wobbling about naked in videos.  A mouth full of ping pong balls.  Yeah…

The David Lammy of the RCA.

Obviously, Dr Harold is not someone could inspire me nor who I would want to bring the best of myself.  He ruled with a floppy fist. Laughing at his own jokes. Someone described him as an ’empty well’. Harold dashed any hope I might have had the CAP circus would get better now he was the ring master.  

His attempts to infantilise were astonishing. On more than one occasion I advised him to watch his tone. I sat in meetings with him thinking… do you know who I am you dumb prick? Yes! That’s what I thought. I’ve been consistently achieved, awarded and respected for my work and you are speaking to me like I’m a fucking child.

I thought I better look at his art. Oh dear. His awful mediocre ‘art’ and I knew…

Meanwhile, after a few weeks of painting and drawing huge dinosaurs Baseman had a big fat target on my back.  It was not a comfortable place to be but if I could get to the degree show in July I knew I would be ok.  Communication broke down steadily between me and Harold Offeh as he attempted to refute Baseman calling my friends dinosaurs, defended Griffin’s appalling waste of my tutorial and made me explain (inexplicably) why I had decided to paint a 9′ x 9′ painting. 

As a result of these interactions I covertly recorded every conversation I had with all of them.

I occasionally bumped into Chantal. After her poorly attended lecture I made some of the best work I’d make at the RCA. There is something about her delivery, her compassion and intelligence that inspired me out of my hum drum thinking… and into action. 

As the final show drew closer the atmosphere in the studio became very tense. I had to share a gallery space with Ming… of course I did. And of course Offeh made me change the work we had agreed for the final show. Apparently the Gaza body bags were ‘offensive’.  By the time of the degree show rolled around… I really didn’t care.  I’d refused to pay my fees and knew it was only a matter of time before I would leave.

I scarcely bothered with the show. I’d reserved the best of me. Held myself back from Jordan, Harold, Mel etc. I didn’t show the inflatable dinosaur. I didn’t buy the mechanised carousel. I knew I would have other opportunities.

As for the show? Let’s put it this way… nobody came. Compared with the Painting Department which was rammed with celebrities and collectors, we got the dregs and by dregs I mean other students.

We were promised collectors from the Tate, what we actually got was a bunch of white rich housewives giggling and confused. We were promised curators but they didn’t show up. I’m sure if Chantal had been there to greet them it would have been a different story.

To fairly share the Painting Department’s heat, it would have made better sense to curate from all departments for the degree show (Print, Jewellery, Painting, Ceramics, CAP, Sculpture etc.) across The Dyson and The Studio Building… like an art fair.

I suggested this to one of the senior staff who told me they’d tried this idea a few years ago. Apparently the public loved it but the staff didn’t. The staff didn’t like the chaos and the fuss. Are you kidding me? The staff couldn’t be bothered? There’s a frigging curatorial studies department who could have curated the whole event rather than commissioning a bunch of mediocre external artists for the best and most spacious gallery in the building.

2.

I’m sitting on the 5th floor of the RCA in Kensington overlooking the campest public sculpture in London:  The Albert Memorial.  All gilded florishes and flowing robes and whiskers.  A great love token from his grieving wife Queen Victoria.  Our very own Taj Mahal.  The golden prince was painted black during the second world war to safeguard the memorial and the nearby Albert Hall from German air raids.

As a young man, maybe when I was at Medway College of Art finishing up my foundation, I would pass the RCA in Kensington and look up at the many floors knowing how lucky the students were to be making and creating and painting…. that only the best and brightest came to the Royal College and were offered a golden ticket to life.  As golden as Prince Albert sheltered under his memorial canopy.  

I knew I would never get there… not then.  Not because I wasn’t good enough… I believed then, as I do now, I could do anything if I set my mind to it.  Yet, sadly the moment had passed and I was on a journey which could never make room for such an indulgence.

My friends who visited the RCA commented on the huge number of Chinese students at the College. It was cynically noted by a member of staff the Chinese students at the RCA are treated as cash cows.

Someone, he said, had to pay for the brand new building by Herzog and de Meuron. The money had to come from somewhere… right? Many of the Chinese students could not speak English and one wonders how they managed to pass the English language exam to get on the course?

During our mandatory ‘Across RCA’ module we were teamed with students from across the three RCA campuses: Battersea, White City and Kensington. The majority of the students were from China. Very few of them could speak english at a level required to complete many of the tasks. Under the heading ‘Social Justice’ Nanci and I chose Propaganda and Censorship as our theme. None of the Chinese student joined our group. One of the Chinese students took me aside and said in broken English he couldn’t join our group because he wanted to return to China. He was scared of being reported to the Chinese authorities by a fellow Chinese student.

At the Offer Holders Event in Kensington… I met Mingzhang Sun. With elbow length hair and robes by Issy Miyake, Ming cuts quite a dash. His work however… meh. Torn canvas and rope over painted stretchers…

Because Ming had lived in the UK for a decade or so, he thought he knew about the vagaries of the English language. So when I used a colloquial term Mingzhang wasn’t familiar, he mocked me suggesting I’d made it up. I asked the English people close to us to confirm ‘a bird in the hand’ was indeed an english expression. Ming advised me not to use ‘old english’ if I expected to be understood. I laughed in his face… that didn’t go down well with silly, scowling Ming.

Is he a they? I can’t remember.

At the final show a dear friend of mine told Ming to stop being so rude to me. Like an impoverished drag queen he made a theatrical apology.

I’m loving these responses from angry, queer Chinese people. Hmmm… They don’t speak English ‘differently’ they don’t speak English at all… which makes the group activities like crits and group discussion very frustrating for those of us who do. The Chinese students sit silently, unable to join in. They stick to themselves and do not ‘grow’. Can they spontaneously articulate thoughts and feelings coherently without using the translator app?

You’ll notice in the critique below he/she refers to me ‘leaking’ private conversations. That is sooo…. Chinese.

By the way, I would love to be ‘dragged’ if you know what I mean.

I want to honor the RCA technicians from whom I learned so much. The real stars of the RCA.

I want to thank the absurdly handsome Ian Stoney who taught me how to cast bronze.  Tuning me into the last ten thousand years of lost wax casting.  Ian and his glamorous studio colleague Kirsty Wood were always eager and helpful and meticulously taught me and others how to make the best of our ideas and ourselves.  

I want to thank Simon Ward in photography who made himself available to every single member of the cohort at all times and printed beautifully with the equipment available to him.  He is the most polite and kindest men.  It is always a delight to hear him across a crowded room call your name and make you feel welcome. 

I want to thank Claudia Espart Hernandez in the printing department who UV printed my black body bags… even though she was obviously repelled by them. Good job Claudia.

Thank you to Thom Costello and Debby Stack and Sophie Manners in the textile department who changed my life with their embroidery and Jaquard machines.  Textiles became the place I wanted to be.  It was gentle and calm.

3.

Toward the end of the second term the playful kids on the course who at first amused me began to shatter my nerves.  It was my friend Douce who pulled me to one side and asked why, whenever she saw me was I helping others achieve their goals and not mine? Spending hours having my hands scanned for Ramone (brilliant but troubled Christian) or helping a young photographer… or getting another artist a huge commission… which he resented doing? I laughed at Douce’s suggestion I should be more selfish… then Anditya had the same observation.

I felt like I was being sucked dry.

The old dinosaur ruthlessly cut them off. When I did so… I began to hear nasty gossip. Ross was saying unpleasant things about me. The vampiric Ross with his irritating ‘competitive curiosity’, the golden boy with his golden locks and weird obsession with snails… nope. 

Gone. 

Alex Pillen, the Imperial professor complained I owed her money and started quizzing others about me. This gossip blew up in her face. Thankfully, Ramone kept me abreast of the tittle tattle.

It wasn’t always thus. Alex was very helpful after I got my horrible and shocking skin diagnosis. When I met her I thought she was a delightful woman who showed me beautiful pictures of her gorgeous Italian country holiday house. Her fibre art is superb and because of her I discovered Japanese yarns.

The ‘they/them’ Mary.  Silver feathers?  Fuck.  Never a good or competant artist, regardless she was also a good friend until she manufactured a drama. Or ‘on the spectrum’, red haired, gluten free, country kid Hannah who called me a fraud…. this talentless moron is scarcely worth writing about.

Oh yeah, and then there is the spotty, spotty, spotty and agist Viola B who hates white men but came dressed as one for her final show… who attempted to have me expelled for talking about sex… what a cunt. 

After meeting the guy I was seeing Viola told me she thought older men dating younger men was disgusting. She complained I took pictures at public events. What a cunt. This kid lectured me about graphic designers not being real artists… never becoming artists, when I corrected her… suggesting Warhol for instance, she became vicious and called me a cunt.

Viola = Karen

Much more about HER next time.

With no clear direction, no effective or charismatic leadership at the end of the second term the cohort began to implode.  

Whilst Lord of the Flies was unfolding on the second floor of the Studio Building I hid in the painting department with people who took themselves and their work more seriously.

Self portrait RCA 2024/25

Categories
art

Billy Childish

Me and Billy at his Lehmann Maupin opening NYC 2015

I met Wild Billy Childish (William Hamper, Stephen Hamper) in September 1977. We met in the lobby of Medway College of Art, the first day of our Foundation Course and pretty much lived in each others pockets that year up on the hill overlooking Chatham and beyond.

I commuted from Whitstable to Chatham on the train wearing my mother’s green woollen tights and various punk get-ups. Braving a torrent of abuse. Bill was in a band called the Pop Rivets and interviewed Polly Styrene for his fanzine. He knew about Kurt Schwitters and German Expressionism and wood cutting and Celine’s Death On The Instalment Plan. He was very generous with what he knew and I was hungry to learn it.

When we left Medway… after a ten year pause we were friends for pretty much two decades. We collaborated on my performance art posters and I bought art from him when I had the money and he needed it.

I think he sent me every book he ever published, every album he ever pressed… and I have every punk fanzine he produced at Medway. He was a machine. Painting, printing, writing, singing, playing the guitar.

Charismatic bad girls flocked to him.

Billy’s girlfriend whilst at Medway was a beautiful woman called Rachel Waller who, when she was done with Billy, married the Olympian Steve Ovett.

While we were at Medway, Billy and Rachel took me under their wing. He recognised another tormented soul and she wanted a gang. However, he could be unashamedly homophobic and treated women as he saw his dad treat his timid mother, June… not very well.

One night Billy and Rachel took me to dinner at the expensive Windmill Restaurant in Whitstable with some money his dad had given him. They missed the last train home to Chatham from Whitstable and my step father refused to let them crash at the house. I was mortified.

After we left Medway he went to St Martin’s School of Art and I lived in Paris and changed my name. We didn’t really speak until 1990.

I did not know Billy when he was married to Sheila although when I met Sheila recently at the RCA she showed me her Billy brand on her upper arm. The hangman tattoo. He married Sheila when he was still with Tracey Emin which devastated Tracey. He could be a real twat.

Billy’s dad was not a good man. Billy seemed all at once in awe of him and terrified. Billy was brought up in Walderslade, a genteel and affluent neighbourhood on the outskirts of Chatham. His parent’s house was well appointed, decorated with real art and art books.

Bill’s father wore velvet collared coats and his Mother, June was a potter. When I was a teenager I liked visiting Billy’s house because it was so different from mine. I thought to myself, Billy and his brother would never want for anything.

Billy is terminally nostalgic and even when we were kids Billy took teen me to old men’s outfitters in Rochester and made me buy braces and homburg hats and I willingly followed his lead. I was his clueless project and soon I was wearing ripped tweed, argyle and caps. He was without doubt (until I met Fred Hughes) my greatest style influence. He was so sure of everything he said and I believed in him. He was the surest 18 year old I had ever met. I would ever meet.

The time I knew Billy the best was when he was married to Kira and had his son Huddy. June moved to Whitstable from Chatham and I was invited to Sunday lunch every weekend for years. Sometimes it was the only proper food I had. As June roasted a chicken, boiled vegetables and made crumble I sat in her spare bedroom which doubled as Billy’s Sunday studio watching him paint. I lazily listened to him talk about painters and painting and Tracey. Always Tracey. I sat and listened to him talk about politics, his health, Peter Doig (who we both knew) but as Tracey gained traction in her career so Billy became more agitated. The Emin tent with his name appliquéd in it… her painting which he felt Tracey owed him a thank you, but rather than be grateful she described him as… stuck. So he created a movement around Tracey calling him stuck, which is what a narcissist does I suppose.

The truth is, Billy was stuck. Stuck in his ways, enslaved by routine. Intransigent.

He tolerated my theatre success. It didn’t mean anything to him but after I met Joe and bought the Peter Cushing house and started making movies he shared that he found my success deeply concerning.

“I never want to talk about your work and I won’t come and see your movies.”

It was at this time Billy became aware I was friends with Jay Jopling who I met in Edinburgh whilst I was working for Ricky DeMarco. Jay and his YBA circus. Jay often visited the cottage at 13 Island Wall in Whitstable and brought his star acts with him. Billy would ask for an introduction to Jay or a studio visit (as did all of my artist friends) but Jay who represented Tracey Emin at White Cube described Billy as ‘tricky’ and refused to meet him or see his work. I remember exactly where that conversation happened and how I dreaded telling Billy… Jay wasn’t interested.

It was his separation from Kira that showed Billy at his worst. Billy’s new American girl now wife Julie inserted herself into all of our lives and frankly, it didn’t feel very good. I liked Kira. She was firm but kind and I respected her authority.

After Kira left and Julie moved in I tried having lunch with them as usual but I couldn’t just pretend things hadn’t changed so I stopped having Sunday lunch with June, Billy and Julie. I continued buying his work. Things came to a head one Sunday afternoon when he visited the Cushing house with Julie and we got into some verbal argy bargy. I told him I thought the way he treated women was despicable. It was then, and only then, he threatened me with physical violence. Sometimes you see people exactly for who they are. Later that evening he called and apologised for his behaviour but it was too late… I had seen him.

I saw Billy recently at Frieze. He gave me a hug and said he thought he might see me. He told me to call.

I didn’t call.

Then, coincidentally I met Billy and Kira’s son’s Australian girlfriend who works in a gallery along side the RCA. Causing me to meet Huddy as an adult, an artist whose work is very similar in style to his father’s.

The last time I saw June she said,

“I’m 90.”

She died shortly after. I heard from Whitstable locals Billy didn’t visit very often.

All in all what do I feel about Billy now? We will continue to bump into each other. We are in the same orbit. I feel as if I was dumped when I saw the worst of him, but Billy never had the courage to tell me why he gaslights me.

I’m left with the paintings, the books the records and stacks of drawings. The paintings I have? Nobody really wants the old stuff. Billy now paints like he actually wants to sell his work. The early work… jarring colours and equally jarring subject matter now ditched for Doig like forests of silver birch and sunsets.

He painted me a cat. I said, “Can you paint it pink?”

I think he probably sneered… but he painted it anyway.

Billy Childish oil on canvas Cat

Categories
art

Cadaver Bag

Over My Dead Body 24/25 RCA Cadaver Bag, Rope, Granite, Knitted Toys and Painted Intervention.

From the garment bags earlier used in the revolving moving image installation and referencing my grandmother’s hoarding of torn and bloodied clothes evolved the industrial cadaver bags intended for human remains.

Suspended so we might consider emotional weight, emotional baggage and also the weight of grief. The granite is immovable. I am powerless over the granite blocks. The toys: synapse.

The bag is full of old clothes I can no longer wear but too expensive to throw away.

Dressing up. Fashion. Disguise.

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