British artist Charlie Billingham takes cropped sections of imagery from Georgian and Regency-era satirical prints and drawings to make his paintings. Through his cropping and recomposing, he removes the original narratives, isolating particular moments, gestures and expressions, to create new compositions. Through this decontextualisation, the paintings are able to read with new and ambiguous interpretations. His paintings are often hung on hand painted and printed walls, which are created with stamps made by the artist, based on his watercolour drawings.
Charlie Billingham graduated from Fine Art and History of Art at The University of Edinburgh and Edinburgh College of Art (2008) and Fine Art at the Royal Academy Schools, London (2013).
Recent solo exhibitions include: A Rake’s Progress, SCAD Museum, Savannah, US, curated by Humberto Moro; Cornucopia, MAZ Museo de Arte de Zapopan, Mexico (2019); Desire Path at Travesía Cuatro Madrid, Spain (2017); Charlie Billingham at Independent Régence presented by Supportico Lopez, Brussels, Belgium (2017); The Comforts of Bath, Moran Bondaroff, Los Angeles, United States (2016); Solo presentation with Supportico Lopez, Art Basel Miami, United States (2015); Schaulust, Supportico Lopez, Berlin, Germany (2015).
Group shows include: Crowd, Hannah Barry Gallery, London, UK (2020); Les Métamorphoses. Jeunes Artistes en Europe, curated by Thomas Delamarre at Fondation Cartier, Paris, France (2019); Objects to Identify, Moran Moran, Los Angeles, USA (2018); Absolute Éructance, with Charlie Billingham and Nils Alix-Tabeling, Damien & the Love Guru, Brussels, Belgium (2017); Plant Scenery of the World, Inverleith House, Edinburgh, United Kingdom (2017); The Coverly Set, Sergent’s Daughters, New York, United States (2017); Figure.Out, Union Gallery, London, United Kingdom (2017); Aquel Que Camina Delante, Travesía Cuatro, Guadalajara, Mexico (2016); Carpet For A Lord, Supportico Lopez, Berlin, Germany (2016); A Scratching Not A Biting, Bureau, New York, United States (2016); The Good The Bad and The Ugly (Part 3), Gesso Art Space, Vienna, Austria (2016); The Ultimate Vessel, Koppe Astner, Glasgow, United Kingdom (2015); The Funnies, MOT International, Brussels, Belgium (2015); Nobody Home, curated by Gigiotto del Vecchio, A Palazzo, Brescia, Italy (2015); The Word Today Serves No One Except To Say To The Grocer Give Me A Pound Of Lentils, Supportico Lopez, Berlin, Germany (2014); Free Time, Emalin, Zuoz, Switzerland (2014); Bloody English, Moran Bondaroff, Los Angeles, United States (2014); The Good The Bad and The Ugly, Gesso Art Space, Vienna, Austria (2014); New Order: British Art Today, Saatchi Gallery, London, United Kingdom (2013).
His work is part of the permanent collections at David Roberts Art Foundation, UK; Cini Foundation, Venice, Italy; Saatchi Collection, United Kingdom; Fundación Calosa, Mexico; Ramin Salsali Private Museum, Dubai, United Arab Emirates; Franks-Suss Collection, London, United Kingdom; HSBC Collection, London, United Kingdom; and Pérez Simón Collection, Mexico.